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Speaker 1: Couest Love Supreme is a production of iHeartRadio. This classic

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Speaker 1: episode was produced by the team at Pandora. What's up, y'all,

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Speaker 1: This is Quest Love and this is QLs classic in

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Speaker 1: which we hear at Quest Love Supreme tack into our

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Speaker 1: archives to bring you some amazing stories from past episodes.

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Speaker 1: This was a really great episode with Ray Parker Jr.

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Speaker 1: Talking about his life as a musician, working with Barry White,

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Speaker 1: with Stevie Wonder, with sha Ka Khan, hanging with Prince,

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Speaker 1: giving Quincy Jones stories, even and even Huey Lewis h

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Speaker 1: This is one for the music fans. We really hope

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Speaker 1: you enjoyed this Quest Love Supreme episode with Ray Parker Jr.

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Speaker 2: So Supremo, Sun sup Supremo, roll call, Suprema su Supremo,

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Speaker 2: roll call, Suprema s S Supremo, roll call, Suprema Something Supremo,

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Speaker 2: roll call.

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Speaker 1: My name is Questo. Yeah that understood.

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Speaker 2: Yeah.

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Speaker 1: Let me tell you something, yeah, must it makes me

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Speaker 1: feel good?

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Speaker 2: Suprema something something Supremo, role called Suprema Son Son Supremo,

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Speaker 2: roll call.

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Speaker 3: My name is Fante.

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Speaker 4: Yeah.

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Speaker 5: My favorite album is Voodoo. Yeah, because that woman needs love. Yeah,

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Speaker 5: just like you Doro Suprema.

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Speaker 2: Son Son Suprema. Roll called Suprema something Suprema.

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Speaker 4: Roll call.

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Speaker 1: My name is Sugar, Yeah, I love to ball.

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Speaker 3: Yeah, you know my number? Yeah, so who You're gonna call.

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Speaker 2: Something something Suprema. Roll call Suprema so something Supremo. Roll call.

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Speaker 1: I'm un pay bill.

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Speaker 3: Yeah, there's something strange. Yeah, you stole my ship.

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Speaker 1: Yeah, Braves.

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Speaker 2: Suprema, roll call Supreme Supremo role.

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Speaker 3: Yeah yeah.

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Speaker 1: Yeah, roll call Supreme.

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Speaker 3: Roll Supreme.

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Speaker 6: So my name yeah, No, I'm not jail.

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Speaker 4: Yeah, but if I would, mister Parker, Yeah, I'll go

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Speaker 4: up any hill.

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Speaker 2: Roll call Supremo. Roll call Suprema so so Supremo.

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Speaker 4: Role call.

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Speaker 3: My name is Ray, Yeah, Taurus born in me. Yeah,

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Speaker 3: I'm my love is strong. Yeah, brab My gets I

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Speaker 3: play with it.

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Speaker 2: Supreme Supreme, roll call Supremo, Supremo. Role called Supreme Supremo,

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Speaker 2: Role called Supreme.

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Speaker 3: Role. We have an amazing show for you today.

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Speaker 1: Our guest is someone I really wanted to get it

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Speaker 1: on the show since we launched it. He's an incredible

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Speaker 1: talented singer, songwriter, guitarist, and producer. He's worked with some

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Speaker 1: true legends of soul, including mister Stevie Wonder, Marvin Gabe,

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Speaker 1: Barry White, so many more, ladies, gentlemen. Mister Ray Parker Jr.

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Speaker 1: Is on the show today. Now before we bring him on,

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Speaker 1: let's check it in quickly with Team Supreme. How you doing, ma'am.

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Speaker 1: I'm doing okay. I'm kind of tired.

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Speaker 5: I think I have decision for you, Like I'm tired

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Speaker 5: of making that damn decisions.

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Speaker 3: I'm mentally exhausted.

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Speaker 5: So now me and me and my lady are finally

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Speaker 5: moving into our house. And so now you've been moving

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Speaker 5: in this house for the longest, dude, it's like because

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Speaker 5: it's just been a lot, man, It's been like, well, hell,

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Speaker 5: I ain't been home.

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Speaker 3: I've been running around with y'all all day.

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Speaker 1: But no, man, but no, it's just that.

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Speaker 5: And then it's like changing bills, like getting stuff from

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Speaker 5: your old place to your new place, and like I'm working,

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Speaker 5: my ladies working, the kids is working, and it's just

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Speaker 5: it's just.

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Speaker 1: A fucking lot, man. The kids are working house well,

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Speaker 1: I mean in school, and you know what I'm saying,

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Speaker 1: And like, well, this is a question from a person

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Speaker 1: that's not a father. Okay, okay, So how what's the

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Speaker 1: report card system. Like now, do they just email you

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Speaker 1: the report?

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Speaker 3: Oh?

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Speaker 1: Man, yo, the report causes? Do they bring it home

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Speaker 1: to you?

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Speaker 2: Nah?

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Speaker 1: Nah? They come straight to your hands? So no more.

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Speaker 1: I can't.

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Speaker 3: I can't. Uh Ferris beauting my way out of the

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Speaker 3: nah bro like.

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Speaker 5: This, everything is electronic. You can log on, you can

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Speaker 5: see they skipping class. You can see like absences Tony's Day. Guys,

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Speaker 5: do you live in a police state? I think we

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Speaker 5: all right?

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Speaker 1: Now?

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Speaker 3: Okay, yeah, so serious helicopter parenting right there?

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Speaker 1: All right? I just want to play one Ray Parker

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Speaker 1: Junior song and Radio before he comes in because we

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Speaker 1: need to relax so he's gonna have all these crazy

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Speaker 1: stories to tell us. I want to play one of

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Speaker 1: my favorite joints off of the two places at the

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Speaker 1: same time. Record It's uh Tonight's to Night by Ray

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Speaker 1: Parker Jr. And Radio This question Love Supreme only on Pandora.

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Speaker 1: Come on.

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Speaker 3: The mood, that's right, m M.

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Speaker 7: If we want to get down to night to night,

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Speaker 7: tell Thomas at us something we don't need his life,

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Speaker 7: that's right, And remind doctor Bell.

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Speaker 3: Not the ring, this phone nothing singing.

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Speaker 1: We got live moves right here. Ray Parker Jr. This

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Speaker 1: quest love Supreme want to lay down right, calm down

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Speaker 1: like you? That was to nice to night. Ray Parker Jr.

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Speaker 1: And Radio air Conditioning here on request lore.

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Speaker 3: Uh yo, this is there's some story behind that song

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Speaker 3: this You should not let that just drip.

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Speaker 1: I'm I'm never We want to ask all the stories.

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Speaker 1: Every episode is a blessing, but this one in particular

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Speaker 1: is like I mean, this man is the consummate musician,

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Speaker 1: session player, producer, uh songwriter personality. I mean, he's one

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Speaker 1: of the coolest people alive. You don't understand. It's real. Seriously,

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Speaker 1: it's cool. Ladies and gentlemen, Welcome the greatest. Ray Parkerjr.

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Speaker 1: Thank you good to be here. Thank you man. This

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Speaker 1: is this is a dream, a dream. Thank you, Thank

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Speaker 1: you for coming to do our show. We are going

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Speaker 1: to ask every question ever I want to ask you

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Speaker 1: right now. The kid is a nice thing. Okay, tell

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Speaker 1: me usually a start at the beginning, but tell what

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Speaker 1: was the story behind tonight and night Tonight?

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Speaker 3: It's an interesting song because I don't know if you recall,

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Speaker 3: but I used to play on all the Herbie Hancock

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Speaker 3: and I wrote a lot of songs with Herbie So

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Speaker 3: I was over his house one day and we were

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Speaker 3: kicking it. And if you know anything about Herbie, he

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Speaker 3: never plays the same thing twice. He just doesn't, you know.

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Speaker 3: And his chords changed like every half a beat, it's

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Speaker 3: a different chord, and it's like going off forever. And

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Speaker 3: he ran across these three chords and I was like, WHOA,

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Speaker 3: that works, but you just got to slow it down.

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Speaker 3: He's like, what are you talking about? I said, slow

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Speaker 3: that down? He said, that ain't working on my song.

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Speaker 3: I said, I ain't talk about your song no more

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Speaker 3: with that already, slow it down. And I had to

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Speaker 3: get him to play the chords in segments where it

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Speaker 3: would just hold for two bars. He says, what do

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Speaker 3: you mean? He says, what am I doing for two

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Speaker 3: I says, you're not doing anything. Just hit the sustained pedble,

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Speaker 3: just hold it, let it drift. And I ended up talking.

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Speaker 3: I said, you know, I could write a whole song

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Speaker 3: off of that. So what I did is I took

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Speaker 3: his synthesizer and his mood, unplugged it from right where

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Speaker 3: we were at his house, which was off of Doheny,

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Speaker 3: put it in my car, put him in the.

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Speaker 1: Car in front seat.

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Speaker 3: That stuff in the back, drove him to my house

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Speaker 3: in my studio, right plugged it back up, and I said,

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Speaker 3: now I want you to do exactly what you're doing

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Speaker 3: at your house. I just want you to do it

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Speaker 3: like him one twelfth the time. So everything lasts two bars,

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Speaker 3: and he had one hell of a time done. We

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Speaker 3: spent a long time because he just couldn't hold those

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Speaker 3: cords that long. He says, man, this is stupid. I said,

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Speaker 3: don't worry about the stupidity of it, just do it

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Speaker 3: and let that hang. And then he played the bass

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Speaker 3: on it. Then to put the bass on second. He

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Speaker 3: was playing way too many notes for it. Slowed that

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Speaker 3: down to just do do do do?

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Speaker 1: Do you know?

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Speaker 3: Which still is a lot for me. Right, he's that's

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Speaker 3: his version that slowed down. Then we took the synthesizes

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Speaker 3: back to his house and finished his song.

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Speaker 1: What was it?

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Speaker 3: I don't know. I just remember tonight to night I

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Speaker 3: was so and thrown with my song. I forgot what

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Speaker 3: we were doing for him? Is that hard for you

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Speaker 3: to do it like?

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Speaker 1: I'm often frustrated because obviously jazz cats have a bigger, wider,

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Speaker 1: expansive vocabulary, yeah, than the average musician. So to get

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Speaker 1: them to just simplify, I think it's a pride thing.

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Speaker 1: Like they feel like every I think it has to

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Speaker 1: be this elaborate, big product, traumatic thing, and they don't

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Speaker 1: understand the beauty of simplicity. Do you think that's because

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Speaker 1: like they just think they're above pop music or.

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Speaker 3: Yeah, in a sense, they're like in more notes is

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Speaker 3: more something? You know, I've learned that the less notes

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Speaker 3: you play, the more money you get a lot of money.

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Speaker 1: For the space, you know.

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Speaker 3: But you know it's like, you know, most of my

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Speaker 3: friends and I start off like this too. I used

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Speaker 3: to play jazz and the old stuff when I was younger.

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Speaker 3: You want to play something that the musicians sitting next

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Speaker 3: to you cannot play. So it's that kind of a

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Speaker 3: thing like watch me do this run and you can't

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Speaker 3: do this run when actually, when you're making music, you

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Speaker 3: want to play something that the person that everybody, even

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Speaker 3: if they play it bad, they want to you make

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Speaker 3: them try to play it, so they think I got it,

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Speaker 3: I got it, you know. So it's it's actually the

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Speaker 3: opposite thing. So what you feel is that resistance from

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Speaker 3: people when they locked into jazz and they say I

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Speaker 3: got it.

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Speaker 1: This is it.

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Speaker 3: They're locked into their world and they just can't see

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Speaker 3: anything else, so they just over there.

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Speaker 1: You know.

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Speaker 3: I don't even know if they think they're better than anybody.

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Speaker 3: I don't think it's better. I just think they think

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Speaker 3: they're different and they think that the difference is correct.

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Speaker 1: I also think it's easier for jazz guys to do

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Speaker 1: the more difficult composition stuff, but it's literally impossible for

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Speaker 1: them to play something simple. Yeah, so I want to

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Speaker 1: go back to the beginning. You were You're from the

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Speaker 1: d right yere? Are you from Detroit? Yeah? What part

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Speaker 1: of Detroit? Are you on? The west side?

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Speaker 3: West side Grand Boulevard, Dexter, Actually Virginia Park and Dexter.

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Speaker 3: But I was born halfway between the Grandy Ballroom and Motown,

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Speaker 3: really right in the middle.

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Speaker 1: I could walk either way.

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Speaker 3: If I walked northwest, I was going to the Grandy Ballroom,

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Speaker 3: in which I was a kid not old enough.

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Speaker 1: To go in.

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Speaker 3: You could hear Jimmy Hendricks playing upstairs, you know, coming

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Speaker 3: out the window. And for those of y'all who don't know,

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Speaker 3: the Grandy Ballroom was like a white rock club in

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Speaker 3: the harder the ghetto. Black people everywhere, and it was

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Speaker 3: almost like off demilitarized zone. They could go to from

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Speaker 3: their cars to the club and back without being harmed.

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Speaker 3: If they went another block either way, that was it,

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Speaker 3: you know, or half a block either way, and it

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Speaker 3: was like holly sacred ground. But it was right in

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Speaker 3: the middle of the ghetto, and all of the rock

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Speaker 3: bands would played, the Ted nug and the m Boy Dukes.

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Speaker 3: That's when he had a group called the m Boy Dukes,

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Speaker 3: and all the rock bands were famous for playing here.

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Speaker 3: And then if I went the other way, it was

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Speaker 3: Northwestern High School, which I ended up graduating from, and

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Speaker 3: then there was Motown down the street, so I could

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Speaker 3: walk to Motown too.

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Speaker 1: First of all, it was guitar, your first instrum no no,

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Speaker 1: I played clarinet. Six years old, I assume that was school.

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Speaker 1: That was elementary school. I had a teacher named Alfred T. Kirby,

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Speaker 1: and he's probably the most important person in my life

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Speaker 1: because at five years old, I was in kindergarten and

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Speaker 1: I hated kindergarten because the gym class didn't have you

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Speaker 1: dance these Russian dances with the girls where you got

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Speaker 1: to change, you know, partners and all that stuff. I

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Speaker 1: wasn't into no girls, you know, that's another story. Took

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Speaker 1: me a long time to find girls.

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Speaker 3: When I found a little but you know, so I

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Speaker 3: didn't want to do this. So at the type of

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Speaker 3: person I was out going at, you know, tame time

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Speaker 3: for the first grade. Now I'm six years old, I said,

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Speaker 3: I ain't doing it. I'm not gonna do it. So

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Speaker 3: I want to go talk to my parents about it.

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Speaker 3: Because they didn't really know what I was talking about. So

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Speaker 3: I decided to find out who's running this school, and

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Speaker 3: so they told me the principal. I said, well, where

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Speaker 3: is the principal? And so I marched out of class,

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Speaker 3: went to the principal's office and said, look, I ain't

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Speaker 3: digging the gym thing with the dancing with the girls.

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Speaker 3: Is there something else I can do? So the principal

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Speaker 3: looked at me, I'll never forget to look. First of all,

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Speaker 3: the principal said absolutely nothing. For maybe a it seemed

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Speaker 3: like sixty seconds like this, the little kid come in

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Speaker 3: here talking it's cramp like you know, So it was

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Speaker 3: like that more of that. Then the principal said, okay,

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Speaker 3: I got something for you and took me to the

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Speaker 3: music class. He said, if you don't want to be

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Speaker 3: in this gym class doing these dances, you can take

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Speaker 3: a music class. I said, what's a music class? Said,

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Speaker 3: you pick an instrument and you go play. Now, well,

264
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Speaker 3: it's nice about the music class that I just this

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Speaker 3: is a god given just a gift. Is my only

266
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Speaker 3: had two best friends in the world. That was Nathan

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Speaker 3: and Olie, and both of them were already in the

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Speaker 3: music class. Oli Brown and Nathan wantthan elem them absolutely

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Speaker 3: wow Jesus yeah, so the band. So, so I go

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Speaker 3: to the class. I walk into the room. There's Nathan

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Speaker 3: playing his trumpet. Nathan played the trumpet. Ollie was playing

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Speaker 3: the drums, but at that time he had a snare

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Speaker 3: drum and we hung a symbol from the ceiling, you know.

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Speaker 3: And uh so the teacher asked me what I want

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Speaker 3: to play? Well, I was a young kid. I wasn't

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Speaker 3: going to say the tuba, right, take tuba? So I

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Speaker 3: wanted to play the flute. And all the girls had

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Speaker 3: taken the flute, so was I said, what's the next

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Speaker 3: smallest instrument? And the next small censure was the clarinet,

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Speaker 3: you know. And so mister Kirby, who was a genius guy.

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Speaker 3: I wish I could talk to him now, mister Kirby.

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Speaker 1: Uh.

283
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Speaker 3: He looked at me, he says, young man. Just about

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Speaker 3: a week into it, he could see that I was

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Speaker 3: less than enthuseda as Oli and Nathan were. He says,

286
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Speaker 3: we're going to start a band, and this band is

287
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Speaker 3: to be called the Sting Rays, which was named after me.

288
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Speaker 3: I didn't figure that out for twenty years. But the

289
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Speaker 3: band was named after me. And you know who else

290
00:14:09,240 --> 00:14:11,040
Speaker 3: didn't figure it out? Allie and Nathan. They were too

291
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Speaker 3: stupid to figure out.

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Speaker 1: Its just been radio was named after you until later.

293
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Speaker 1: That's a story.

294
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Speaker 3: So and I think he named it after me because

295
00:14:21,280 --> 00:14:23,840
Speaker 3: I needed the most. I needed more encouragement than Nathan

296
00:14:23,880 --> 00:14:26,600
Speaker 3: and Olie did, you know. And so it was interesting.

297
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Speaker 3: We we did parent teacher conference stuff, orphanages and a

298
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Speaker 3: whole bunch of stuff. And our hit song which was

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Speaker 3: hitting the neighborhood, local local hit. It's called Airplane du

300
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Speaker 3: Do Do Do Do Do Do Doom d crash, you know,

301
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Speaker 3: And that was it. And man, we were we were popular.

302
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Speaker 6: And we select for somebody this is under ten years old, six.

303
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Speaker 3: Years old, can't it's we were six years old, six

304
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Speaker 3: were rocking. That's the show, ladies.

305
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Speaker 5: And yeah, I was dancing to one of your songs.

306
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Speaker 1: Yeah.

307
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Speaker 3: Yeah, So that's how it all began is on the clarinet,

308
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Speaker 3: Nathan played the trumpet, Allie played the drums.

309
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Speaker 1: Any any other notable Session Monster musicians also go to

310
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Speaker 1: the school with you during this time period that Oh yeah,

311
00:15:17,840 --> 00:15:19,760
Speaker 1: when you know Diana Ross went to that school, not

312
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Speaker 1: when I went toations went to that school, I think.

313
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Speaker 3: Yeah, there was a lot. No, this was a famous

314
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Speaker 3: now what you got a picture. I'm sure you've noticed

315
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Speaker 3: that a lot of famous people have come out of Detroit.

316
00:15:30,680 --> 00:15:33,400
Speaker 3: It was just a small area. So everybody was going

317
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Speaker 3: to either that school or the school next to it,

318
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Speaker 3: or Cast Tech or you know. We were all in

319
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Speaker 3: the same genre, so to speak. Kevin Tony went to

320
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Speaker 3: high school with me. He still plays with me now.

321
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Speaker 3: The guy from the Blackbirds Rock Creek Park doing it, Yeah,

322
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Speaker 3: he was, and we all went to school together. That's

323
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Speaker 3: what we're gonna get to. His story for sure, that's

324
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Speaker 3: another story. He's a jazz guy, okay, and you know,

325
00:15:52,880 --> 00:15:55,920
Speaker 3: so that's the whole story. But uh, and just to

326
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Speaker 3: show you the progression. Later we met up with Sylvester Rivers,

327
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Speaker 3: who was one of our good friends too, who ended

328
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Speaker 3: up doing all of the piano working Invictus and hot

329
00:16:04,440 --> 00:16:07,120
Speaker 3: wax and the other stuff. And Sylvester had a band.

330
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Speaker 3: For the first time, we thought we were smoking everybody.

331
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Speaker 3: I mean, we were jamming. So now let's fast forward.

332
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Speaker 3: It seemed like twenty years but eight years old, eight

333
00:16:16,200 --> 00:16:18,000
Speaker 3: and a half years old, we're going to fast forward

334
00:16:18,000 --> 00:16:20,320
Speaker 3: to eight and a half years old. The biggest thing

335
00:16:20,360 --> 00:16:22,720
Speaker 3: to happen at eight and a half years old is

336
00:16:22,760 --> 00:16:26,120
Speaker 3: we heard Sylvester's band. And Sylvester's band had a bass

337
00:16:26,160 --> 00:16:28,880
Speaker 3: guitar and he was playing a keyboard. We never really

338
00:16:28,920 --> 00:16:31,880
Speaker 3: thought about chords, right, We didn't even have a bass

339
00:16:31,960 --> 00:16:35,040
Speaker 3: drum yet. So all of a sudden, now we're hearing

340
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Speaker 3: chords for the first time, and we're hearing the bass

341
00:16:37,360 --> 00:16:39,760
Speaker 3: note on the bottom. Man, that stuff seemed this big

342
00:16:40,120 --> 00:16:43,360
Speaker 3: compared to just the trumpet, the clarinet and the snare drum.

343
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Speaker 3: You know, so Ollie immediately, you know, I guess his

344
00:16:46,040 --> 00:16:48,320
Speaker 3: parents borrow some money. He got a bass drum so

345
00:16:48,360 --> 00:16:50,120
Speaker 3: he could get some bottom on at least the drums,

346
00:16:50,120 --> 00:16:51,600
Speaker 3: so you could get a kick going, you know, foot

347
00:16:51,680 --> 00:16:58,680
Speaker 3: going and our neverget Sylvester wanted Olie to join his band,

348
00:16:59,160 --> 00:17:02,320
Speaker 3: which was a more phisticated band, because their drummer wasn't happening.

349
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Speaker 3: And Ali was on the floor crying, you know, because

350
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Speaker 3: he didn't want to leave his.

351
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Speaker 1: Homies, you know, just so he's tried. I can't.

352
00:17:07,400 --> 00:17:09,040
Speaker 3: I'll never leave. I said, man, you need to leave.

353
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Speaker 3: I ain't gonna do this anyway, knowing something else. I

354
00:17:11,600 --> 00:17:15,280
Speaker 3: still wasn't committed at that age, and by that time

355
00:17:15,320 --> 00:17:17,840
Speaker 3: I was playing a little bit of saxophone. But the

356
00:17:17,880 --> 00:17:20,240
Speaker 3: big thing, the big life change, was my dad bought

357
00:17:20,240 --> 00:17:24,000
Speaker 3: a Magnavox tape recorder about this big, with real to reel,

358
00:17:24,359 --> 00:17:26,520
Speaker 3: and I had the only tape recorder in the neighborhood

359
00:17:26,680 --> 00:17:27,840
Speaker 3: that was real to real.

360
00:17:27,960 --> 00:17:29,080
Speaker 6: So you were the studio.

361
00:17:29,359 --> 00:17:31,600
Speaker 3: I was a studio, believe it. And I still like

362
00:17:31,680 --> 00:17:34,960
Speaker 3: that today. But I was the studio. I had the

363
00:17:34,960 --> 00:17:40,000
Speaker 3: tape recorder and my brother had a cheap box guitar,

364
00:17:40,760 --> 00:17:43,240
Speaker 3: and I remember I had a busher saxophone. I took

365
00:17:43,320 --> 00:17:46,359
Speaker 3: my brother's guitar and I put the microphone in the

366
00:17:46,359 --> 00:17:48,359
Speaker 3: guitar and it amplified it.

367
00:17:48,520 --> 00:17:48,639
Speaker 2: Right.

368
00:17:48,680 --> 00:17:50,600
Speaker 3: It was an acoustic guitar, but I put the mic

369
00:17:50,680 --> 00:17:53,280
Speaker 3: in the thing, passed the strings, stuck it up in there,

370
00:17:53,440 --> 00:17:55,119
Speaker 3: turned the tape recorder up, and I was like, whoa,

371
00:17:55,119 --> 00:17:57,360
Speaker 3: that's cool sound. Plus I got more than one show.

372
00:17:57,400 --> 00:17:59,159
Speaker 3: I can't plain things that you hit the strings, but

373
00:17:59,200 --> 00:18:01,119
Speaker 3: it was more than one old at the time, and

374
00:18:01,200 --> 00:18:03,320
Speaker 3: I was tired of breathing and stuff. Anyway, So Ollie

375
00:18:03,359 --> 00:18:06,560
Speaker 3: left the band. Yeah, I didn't like this. And by

376
00:18:06,600 --> 00:18:07,760
Speaker 3: the time, you know, I was starting to get a

377
00:18:07,760 --> 00:18:10,359
Speaker 3: little taller, a little more ten years old, starting to

378
00:18:10,359 --> 00:18:12,360
Speaker 3: get a little more handsome, you know, growing little head.

379
00:18:14,280 --> 00:18:16,000
Speaker 3: I ain't found the girls yet, but I'm just saying

380
00:18:16,000 --> 00:18:18,080
Speaker 3: I was just starting going into your own. Yeah, I'm

381
00:18:18,080 --> 00:18:19,120
Speaker 3: getting taller.

382
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Speaker 1: You know.

383
00:18:19,080 --> 00:18:21,359
Speaker 3: In the little clarinet's getting smaller, I'm getting taller. You

384
00:18:21,359 --> 00:18:25,480
Speaker 3: know what happened. So Ollie quit the band and went

385
00:18:25,520 --> 00:18:28,119
Speaker 3: with Sylvester and the bigger band. So I just decided

386
00:18:28,119 --> 00:18:30,360
Speaker 3: I'm gonna play the guitar and you know, and we

387
00:18:30,359 --> 00:18:32,520
Speaker 3: were still playing together sometimes, but they didn't want me

388
00:18:32,560 --> 00:18:34,960
Speaker 3: to play the guitar. They wanted me to play the clarinet,

389
00:18:35,000 --> 00:18:36,639
Speaker 3: you know. And I said, if you don't let me

390
00:18:36,680 --> 00:18:38,600
Speaker 3: to play the guitar, I ain't gonna record y'all. That's

391
00:18:38,640 --> 00:18:40,360
Speaker 3: just the way it is, you know. So that's how

392
00:18:40,400 --> 00:18:42,360
Speaker 3: that went. Okay, So now I'm gonna let y'all take

393
00:18:42,359 --> 00:18:43,959
Speaker 3: it back over.

394
00:18:44,119 --> 00:18:45,000
Speaker 1: I know this is.

395
00:18:44,960 --> 00:18:48,840
Speaker 5: Going campfire stories, so we just tell them who Ali

396
00:18:49,240 --> 00:18:50,879
Speaker 5: or he keeps?

397
00:18:51,119 --> 00:18:53,639
Speaker 1: Well. Now, now everything's coming to me now, because I

398
00:18:53,680 --> 00:18:56,679
Speaker 1: was trying to Ollie and Jerry hooked up, and of

399
00:18:56,680 --> 00:18:59,480
Speaker 1: course Jerry was also in radio, so.

400
00:19:00,160 --> 00:19:02,120
Speaker 3: That oh yeah, I holked them up years later. That's

401
00:19:02,200 --> 00:19:04,040
Speaker 3: way I see it.

402
00:19:04,200 --> 00:19:05,800
Speaker 1: I don't want to jump that far. I don't jump

403
00:19:05,800 --> 00:19:09,679
Speaker 1: that far. So okay, So were you self taught or

404
00:19:09,720 --> 00:19:12,159
Speaker 1: did you have formal instruction self taught on the guitar?

405
00:19:12,359 --> 00:19:15,320
Speaker 1: And is this normal for everyone in Detroit? Like am

406
00:19:15,359 --> 00:19:18,040
Speaker 1: I to think that everyone's a wonder kind prodigy at

407
00:19:18,119 --> 00:19:20,120
Speaker 1: their instrument? You know what?

408
00:19:20,440 --> 00:19:22,080
Speaker 3: Yeah, it does seem like it. But let me tell

409
00:19:22,080 --> 00:19:26,760
Speaker 3: you this. The level of musicianship was so high that

410
00:19:26,880 --> 00:19:29,320
Speaker 3: before you could even tell anybody you played the instrument,

411
00:19:29,400 --> 00:19:30,120
Speaker 3: you had to be good.

412
00:19:30,760 --> 00:19:30,920
Speaker 1: Right.

413
00:19:30,960 --> 00:19:33,480
Speaker 3: It's just like I'll never get Norm Nixon told me

414
00:19:33,520 --> 00:19:35,720
Speaker 3: one time. He said all his guys he went to

415
00:19:35,720 --> 00:19:37,399
Speaker 3: school with, all six or eight of them went to

416
00:19:37,440 --> 00:19:40,160
Speaker 3: the NBA because the level of practice that they all

417
00:19:40,200 --> 00:19:43,000
Speaker 3: commanded from each other. It was so much higher that

418
00:19:43,080 --> 00:19:45,080
Speaker 3: when they showed up with everybody else, the whole group

419
00:19:45,160 --> 00:19:47,840
Speaker 3: was higher. And I think that's how Detroit was. You know,

420
00:19:48,640 --> 00:19:51,280
Speaker 3: when I was a young kid, like fourteen, I'm playing

421
00:19:51,320 --> 00:19:54,080
Speaker 3: in at twenty Grand. Well, you know, James Jamison was

422
00:19:54,080 --> 00:19:56,560
Speaker 3: sitting next to me, right, So that's just the way

423
00:19:56,600 --> 00:19:59,320
Speaker 3: you played. James Jamison was sitting here. You know, Jack

424
00:19:59,400 --> 00:20:02,359
Speaker 3: atri over there, Robert wis sitting here. I mean, you

425
00:20:02,400 --> 00:20:04,720
Speaker 3: gotta play, well, you gotta play. You know, there's no

426
00:20:04,760 --> 00:20:06,880
Speaker 3: way around it. And if you're not cutting it, everybody's

427
00:20:06,920 --> 00:20:09,520
Speaker 3: pointing at you. And I gotta tell the street when

428
00:20:09,520 --> 00:20:11,520
Speaker 3: the notes, when the bad notes get played. It wasn't

429
00:20:11,560 --> 00:20:14,080
Speaker 3: me because I was perfect, right, I had to be perfect.

430
00:20:14,119 --> 00:20:15,720
Speaker 3: I'd be out, but they'd all point to me.

431
00:20:15,760 --> 00:20:16,119
Speaker 1: Anyway.

432
00:20:16,440 --> 00:20:19,520
Speaker 3: I get hit with the drum stick anyway, because it's

433
00:20:19,520 --> 00:20:21,600
Speaker 3: the youngest. So did you play with the Funk Brothers

434
00:20:21,920 --> 00:20:25,000
Speaker 3: or were you a I didn't play with the Funk

435
00:20:25,040 --> 00:20:26,080
Speaker 3: Brothers on the original.

436
00:20:26,160 --> 00:20:28,119
Speaker 1: Well no, no, I don't mean that, But did you

437
00:20:28,160 --> 00:20:29,320
Speaker 1: ever play with those guys? Oh?

438
00:20:29,359 --> 00:20:30,719
Speaker 3: Every day?

439
00:20:30,840 --> 00:20:33,800
Speaker 1: So the twenty Grand was just the epicenter of musicians.

440
00:20:33,800 --> 00:20:35,480
Speaker 3: I was in the house band at the twenty Grand,

441
00:20:35,600 --> 00:20:38,720
Speaker 3: so it was like fourteen fifteen. It was Michael Henderson

442
00:20:38,760 --> 00:20:41,520
Speaker 3: would play sometime. Bohannon was the band leader. He's the

443
00:20:41,560 --> 00:20:44,480
Speaker 3: guy that brought Melton Hamilton. Bohannon brought me in the band.

444
00:20:45,000 --> 00:20:47,040
Speaker 3: Michael Henderson would play when he's not on tour with

445
00:20:47,119 --> 00:20:50,359
Speaker 3: Miles or Stevie or somebody. But Jamison was there just

446
00:20:50,359 --> 00:20:53,639
Speaker 3: about every night. Eddie Willis would play sometime. Wow, I

447
00:20:53,680 --> 00:20:54,480
Speaker 3: was there all the time.

448
00:20:54,720 --> 00:20:57,800
Speaker 1: Right. Why I watch him was from the joy as well?

449
00:20:58,080 --> 00:21:00,480
Speaker 3: Yeah, you know, to get tired. Why wat Yeah, the

450
00:21:00,560 --> 00:21:03,479
Speaker 3: thick L five that he puts the phone in and

451
00:21:03,520 --> 00:21:07,040
Speaker 3: get the Winwaie pedal. Yeah, that's my guitar. That ain't

452
00:21:07,040 --> 00:21:09,120
Speaker 3: wi Wis guitar. He still owed me three hundred dollars.

453
00:21:10,400 --> 00:21:13,600
Speaker 3: I was going at that when I was playing jazz.

454
00:21:14,560 --> 00:21:16,600
Speaker 3: I put the phone in there because Melvin Spiks and

455
00:21:16,600 --> 00:21:19,280
Speaker 3: George Benson had done it, and I bought an L five,

456
00:21:19,359 --> 00:21:22,600
Speaker 3: you know, to play some jazz. I was playing jazz wy.

457
00:21:22,760 --> 00:21:25,040
Speaker 3: I was living with this white chick and she stole

458
00:21:25,080 --> 00:21:25,920
Speaker 3: all everything he had.

459
00:21:26,080 --> 00:21:26,280
Speaker 4: So he.

460
00:21:27,840 --> 00:21:29,960
Speaker 3: Came home the carbet was gone. She took all the money,

461
00:21:30,119 --> 00:21:31,520
Speaker 3: he would have killed her, but he didn't have enough

462
00:21:31,520 --> 00:21:34,120
Speaker 3: money to go get fired her. To kill it took

463
00:21:36,560 --> 00:21:38,560
Speaker 3: and while I had a thin body guitar that he

464
00:21:38,640 --> 00:21:40,840
Speaker 3: was playing all the time, and so I said, look,

465
00:21:40,840 --> 00:21:42,680
Speaker 3: I ain't gonna play jazz much no more. You could

466
00:21:42,680 --> 00:21:45,040
Speaker 3: buy my l five and he didn't have much a choice.

467
00:21:45,040 --> 00:21:47,280
Speaker 3: He gave me one hundred two hundred bucks and said

468
00:21:47,280 --> 00:21:49,320
Speaker 3: he paid me the rest, which I never ever, never did.

469
00:21:49,480 --> 00:21:51,720
Speaker 3: But that's how he got that guitar. And then once

470
00:21:51,720 --> 00:21:54,040
Speaker 3: he started playing with it, the wa wai pedal and

471
00:21:54,080 --> 00:21:56,800
Speaker 3: the boxy tire feeding back gave him his new sound.

472
00:21:56,920 --> 00:21:58,760
Speaker 3: He was like, oh, I like this. So he's been

473
00:21:58,800 --> 00:21:59,520
Speaker 3: playing the ever since.

474
00:21:59,640 --> 00:21:59,800
Speaker 1: Now.

475
00:21:59,800 --> 00:22:01,920
Speaker 3: We had a deal because he smokes a lot of cigarettes,

476
00:22:01,920 --> 00:22:03,680
Speaker 3: and so I say, if you croak early and when

477
00:22:03,720 --> 00:22:09,040
Speaker 3: my guitar back, that's prit of the deal. That's probably

478
00:22:09,040 --> 00:22:09,280
Speaker 3: the deal.

479
00:22:09,320 --> 00:22:13,159
Speaker 1: Even though so I guess uh some previous episodes before

480
00:22:14,480 --> 00:22:16,679
Speaker 1: we learned the idea of the house Span, which was

481
00:22:17,080 --> 00:22:20,720
Speaker 1: various acts will come to town learn the records. Whoever

482
00:22:21,080 --> 00:22:24,320
Speaker 1: you know, was how much warning did you have, Like,

483
00:22:24,400 --> 00:22:26,400
Speaker 1: give us an example of you being in the house

484
00:22:26,400 --> 00:22:28,080
Speaker 1: Span and someone coming to the town is this.

485
00:22:28,240 --> 00:22:30,520
Speaker 3: Okay, we're in the house span and let's say Gladys

486
00:22:30,600 --> 00:22:33,760
Speaker 3: Night and the Pips come to town. Chuck Jackson was

487
00:22:33,800 --> 00:22:37,320
Speaker 3: the big guy that will come, Spinners will come. They're

488
00:22:37,359 --> 00:22:39,879
Speaker 3: in the warning you show up there this week, they

489
00:22:39,920 --> 00:22:41,719
Speaker 3: say the Spinner's showing. They put the charts up there,

490
00:22:41,720 --> 00:22:43,280
Speaker 3: and it's time that you know you've rehearsed a little

491
00:22:43,280 --> 00:22:46,199
Speaker 3: bit with the charts, these core charts or or actual

492
00:22:46,320 --> 00:22:50,720
Speaker 3: like their cored charts with some notes. So the guitar

493
00:22:50,800 --> 00:22:54,200
Speaker 3: is going d D D D ding or duram dirrtr

494
00:22:54,400 --> 00:22:56,760
Speaker 3: that'll be written. Then you go back to chords.

495
00:22:57,200 --> 00:22:59,000
Speaker 5: Was that the same you mentioned Chuck Jackson? Was that

496
00:22:59,080 --> 00:23:01,320
Speaker 5: the same Chuck Jackson the work when Nellie.

497
00:23:01,080 --> 00:23:04,160
Speaker 3: Cole was No, no, no, there was a guy singer.

498
00:23:04,240 --> 00:23:06,320
Speaker 3: Chuck Jackson had a big horn section and everything. I

499
00:23:06,359 --> 00:23:09,160
Speaker 3: know Chuck Jacks Marvin Yanson too. Yeah, yeah, I did

500
00:23:09,200 --> 00:23:10,960
Speaker 3: some of Natalie's records.

501
00:23:11,200 --> 00:23:14,320
Speaker 1: Yeah, you're on sophisticated lady, right, I believe I know.

502
00:23:14,359 --> 00:23:16,600
Speaker 3: I'm on our love. I remember that, okay, because she

503
00:23:16,680 --> 00:23:19,280
Speaker 3: was pregnant at the time, right, Okay.

504
00:23:19,080 --> 00:23:22,360
Speaker 1: So okay, so you're saying that without warning, someone puts

505
00:23:22,359 --> 00:23:23,200
Speaker 1: paper in front of you.

506
00:23:23,240 --> 00:23:25,840
Speaker 3: And you go get yeah, you gotta go. Okay, And

507
00:23:26,119 --> 00:23:30,520
Speaker 3: I got my first gig at Motown, even before Hamilton Bohanna,

508
00:23:30,560 --> 00:23:33,760
Speaker 3: even before the twenty Grand is with the Spinners. Okay,

509
00:23:34,160 --> 00:23:37,280
Speaker 3: and Billy Henderson had a truck called Fascinating Rhythm. He says,

510
00:23:37,280 --> 00:23:39,040
Speaker 3: I don't care how old you. You could read that chart,

511
00:23:39,400 --> 00:23:41,320
Speaker 3: you got the gig. So I pulled up my guitar,

512
00:23:41,359 --> 00:23:42,760
Speaker 3: I read that chart, and now I got the gig.

513
00:23:42,880 --> 00:23:44,440
Speaker 3: And so he came to my mom and they take

514
00:23:44,520 --> 00:23:46,600
Speaker 3: us down on weekends, you know, and we go play

515
00:23:46,640 --> 00:23:48,560
Speaker 3: with the Spinners. They were nobody at the time they had.

516
00:23:49,160 --> 00:23:51,560
Speaker 3: Felipe Win hadn't even gotten the band yet. So this

517
00:23:51,640 --> 00:23:55,119
Speaker 3: is the Detroit Spinners, Detroit Spinish. Yeah, but at the twenty grand,

518
00:23:55,160 --> 00:23:57,480
Speaker 3: which is interesting, Felipe Win got in the band at

519
00:23:57,480 --> 00:23:58,840
Speaker 3: the twenty grand. They didn't have no hits and they

520
00:23:58,840 --> 00:24:02,640
Speaker 3: weren't signed to Philadelphia. But I do remember Felipe Win

521
00:24:03,119 --> 00:24:06,719
Speaker 3: turning out the audience two shows a night with no hits.

522
00:24:07,200 --> 00:24:08,280
Speaker 1: He just started doing that.

523
00:24:08,200 --> 00:24:10,280
Speaker 3: Half half yeah, I heard it, and he was just

524
00:24:10,320 --> 00:24:13,080
Speaker 3: the most energetic guy you ever seen, and we nobody

525
00:24:13,119 --> 00:24:16,679
Speaker 3: knew what he was singing, right it was like exciting anyway,

526
00:24:16,920 --> 00:24:20,440
Speaker 3: I've heard the level of performing was unbelievable.

527
00:24:20,520 --> 00:24:23,399
Speaker 5: Yeah, sol bay Wind was off the Chaine and I

528
00:24:23,400 --> 00:24:25,359
Speaker 5: heard he was like the greatest, like ad Liver. He

529
00:24:25,359 --> 00:24:27,440
Speaker 5: would just come up with stuff off the cuff.

530
00:24:27,600 --> 00:24:29,840
Speaker 3: But they said they wore tom Bell would shortened all

531
00:24:29,880 --> 00:24:32,280
Speaker 3: the songs to leave a long faith because they just

532
00:24:32,280 --> 00:24:34,520
Speaker 3: would let him have the fade. So if you look

533
00:24:34,560 --> 00:24:36,840
Speaker 3: at the Spinner songs, they you know, two minutes it

534
00:24:36,880 --> 00:24:37,480
Speaker 3: starts to.

535
00:24:37,400 --> 00:24:41,000
Speaker 1: Just go to the fath he there's a formula one

536
00:24:41,040 --> 00:24:43,720
Speaker 1: Spinner songs because when you're the same with Slim and

537
00:24:43,760 --> 00:24:46,400
Speaker 1: family Stone, like I used to think that Fleebe sang everything,

538
00:24:47,280 --> 00:24:51,080
Speaker 1: whereas you know, I noticed that uh, one of the

539
00:24:51,119 --> 00:24:54,400
Speaker 1: other singers would sing the main lyrics and then when

540
00:24:54,359 --> 00:24:58,680
Speaker 1: it was time for the end straight he rarely would

541
00:24:58,680 --> 00:25:01,080
Speaker 1: get a song by him, stuff like rubber a band

542
00:25:01,080 --> 00:25:03,199
Speaker 1: man or maybe one of a kind. But it's kind

543
00:25:03,240 --> 00:25:05,880
Speaker 1: of like a formula at the twenty grand, So could

544
00:25:05,880 --> 00:25:09,159
Speaker 1: you describe what what a typical night there was like, Like,

545
00:25:09,200 --> 00:25:11,440
Speaker 1: first of all, I was at the nightclub. Is it

546
00:25:11,440 --> 00:25:11,639
Speaker 1: it was.

547
00:25:11,640 --> 00:25:14,080
Speaker 3: A night theater or we need another nightclub like that?

548
00:25:14,200 --> 00:25:16,560
Speaker 3: It was an all black nightclub in the center of

549
00:25:16,560 --> 00:25:20,800
Speaker 3: the ghetto. Capacity probably four or five hundred people, but

550
00:25:20,840 --> 00:25:23,080
Speaker 3: it would be packed. I mean this place would be

551
00:25:23,160 --> 00:25:25,560
Speaker 3: packed seats everywhere. Gladys night would have a line going

552
00:25:25,640 --> 00:25:27,800
Speaker 3: outside in the wintertime all the way around the block.

553
00:25:28,720 --> 00:25:30,320
Speaker 1: So if it's in the center of the hood, was

554
00:25:30,359 --> 00:25:34,520
Speaker 1: there any concern where once you became of a certain stature, Say,

555
00:25:34,520 --> 00:25:37,120
Speaker 1: if you're like Diynald Ross, right, are you still going

556
00:25:37,160 --> 00:25:37,920
Speaker 1: to the twenty Grands?

557
00:25:38,119 --> 00:25:38,199
Speaker 5: Ye?

558
00:25:38,359 --> 00:25:40,720
Speaker 3: See, Norman Wifield's there every night. I mean he used

559
00:25:40,720 --> 00:25:42,280
Speaker 3: to pick on me as a kid, saying what's he

560
00:25:42,400 --> 00:25:45,640
Speaker 3: doing here? And I said, shit, you the drink?

561
00:25:45,680 --> 00:25:46,119
Speaker 1: Shut up?

562
00:25:47,240 --> 00:25:48,520
Speaker 3: Call me out routinely.

563
00:25:48,560 --> 00:25:50,840
Speaker 1: You know you're coming underage? Like yeah, yeah, I was

564
00:25:50,880 --> 00:25:51,480
Speaker 1: way under age.

565
00:25:51,480 --> 00:25:53,480
Speaker 3: I mean me and Norman Widfield we couldn't be friends

566
00:25:53,480 --> 00:25:55,280
Speaker 3: for like another four years because he was called he

567
00:25:55,359 --> 00:25:57,480
Speaker 3: was just calling me out just you know, it.

568
00:25:57,480 --> 00:25:58,840
Speaker 1: Took a while. I used to check.

569
00:25:59,480 --> 00:26:01,600
Speaker 3: I don't know, he was just picking on me, and

570
00:26:01,640 --> 00:26:03,520
Speaker 3: then he talked to me like third party too. He'd

571
00:26:03,560 --> 00:26:06,800
Speaker 3: be like, why is he here? He's obviously too young.

572
00:26:06,840 --> 00:26:07,600
Speaker 1: He was just picking you know.

573
00:26:07,640 --> 00:26:11,600
Speaker 3: I was like really like initiation, Yeah, like I guess, you.

574
00:26:11,600 --> 00:26:14,719
Speaker 1: Know, he didn't know through you he might have someone

575
00:26:14,760 --> 00:26:16,320
Speaker 1: that was sort of on level.

576
00:26:16,119 --> 00:26:18,879
Speaker 3: With Dennis or no, he didn't feel none of that.

577
00:26:18,920 --> 00:26:20,919
Speaker 3: He wasn't feeling. So it was all about Dennis and

578
00:26:20,920 --> 00:26:22,800
Speaker 3: no one else. That was thet kid pumped out on

579
00:26:22,840 --> 00:26:24,640
Speaker 3: the stage. I mean, just what that was. It wasn't

580
00:26:24,680 --> 00:26:26,800
Speaker 3: headed that way. But the typical day is, you know,

581
00:26:26,840 --> 00:26:29,520
Speaker 3: we go in rehearse the songs, or like I say it, showtime,

582
00:26:29,560 --> 00:26:33,240
Speaker 3: we do the first show almost like clockwork. Every night

583
00:26:33,440 --> 00:26:36,360
Speaker 3: in the middle between the two shows, me and Jamison

584
00:26:36,359 --> 00:26:39,160
Speaker 3: would hang out. James had a black fleet with bro him.

585
00:26:39,520 --> 00:26:41,199
Speaker 3: We go to his car, you know, and I was

586
00:26:41,320 --> 00:26:44,040
Speaker 3: a really nice kid. Jamison would go in his glove

587
00:26:44,080 --> 00:26:46,200
Speaker 3: box and that's winter time, so we got the windows

588
00:26:46,240 --> 00:26:47,600
Speaker 3: rolled up, we got a little bit of heat on

589
00:26:47,840 --> 00:26:50,600
Speaker 3: co and and then he have a bag of weed.

590
00:26:51,000 --> 00:26:53,000
Speaker 3: Then the bag of weed was sitting on his gun.

591
00:26:53,320 --> 00:26:55,080
Speaker 3: You know, the gun. I'm sorry, the gun was sitting

592
00:26:55,119 --> 00:26:58,080
Speaker 3: on the bag. First of all, everybody just by everybody

593
00:26:58,080 --> 00:27:00,320
Speaker 3: in the gun got get used to that. You don't

594
00:27:00,320 --> 00:27:02,159
Speaker 3: go nowhere without your gun in the glovebox, you know.

595
00:27:02,440 --> 00:27:04,680
Speaker 3: But he had a weed undergun, so he would get

596
00:27:04,680 --> 00:27:06,919
Speaker 3: the weed put in the primary starts smoking weed. So

597
00:27:07,359 --> 00:27:13,000
Speaker 3: I told my mother on James Jameson what I said,

598
00:27:13,000 --> 00:27:15,280
Speaker 3: you know, because it was making me feel weird. You know,

599
00:27:15,320 --> 00:27:18,040
Speaker 3: it's you know, contact, It just wasn't happening, you know.

600
00:27:18,520 --> 00:27:20,439
Speaker 3: So you know, I had to talk with my parents

601
00:27:20,480 --> 00:27:22,280
Speaker 3: and they told me what to say because they didn't

602
00:27:22,280 --> 00:27:23,679
Speaker 3: want me to get I'll get him in trouble. So

603
00:27:23,680 --> 00:27:26,000
Speaker 3: I went back and I said, you know, mister Jamison,

604
00:27:26,200 --> 00:27:28,600
Speaker 3: mister Jameson, how old was he at the time. I

605
00:27:28,600 --> 00:27:31,560
Speaker 3: don't know, he probably is in his late thirties. I'm guessing,

606
00:27:31,600 --> 00:27:35,000
Speaker 3: you know. And yeah, I think I was fourteen fifteen.

607
00:27:35,040 --> 00:27:37,200
Speaker 3: I said, you know, I can't sit in the car

608
00:27:37,280 --> 00:27:40,399
Speaker 3: with you no more because you know, you're smoking these

609
00:27:40,440 --> 00:27:42,960
Speaker 3: things and I can't, you know, I feel weird.

610
00:27:43,920 --> 00:27:45,760
Speaker 1: Yeah. Yeah.

611
00:27:45,800 --> 00:27:47,840
Speaker 3: He promised me he'd never do it again, you know,

612
00:27:47,880 --> 00:27:49,640
Speaker 3: he said, you know, this is a week lady said,

613
00:27:49,680 --> 00:27:52,400
Speaker 3: he missed our hangout in the car, you know, because

614
00:27:52,440 --> 00:27:54,000
Speaker 3: nobody else is hanging out with because he liked to

615
00:27:54,040 --> 00:27:56,560
Speaker 3: drink a little bit. People gone. So he told me

616
00:27:56,600 --> 00:27:58,440
Speaker 3: he never do it again. So I said, okay, cool,

617
00:27:58,440 --> 00:28:00,280
Speaker 3: and then we got back together and we go to

618
00:28:00,320 --> 00:28:03,040
Speaker 3: his car listen to some music kick it. You know,

619
00:28:03,200 --> 00:28:04,800
Speaker 3: I didn't know he's going to be famous or anything.

620
00:28:04,880 --> 00:28:06,320
Speaker 3: I just just the bass player.

621
00:28:06,400 --> 00:28:08,800
Speaker 1: What I was going to say was he I've never

622
00:28:08,880 --> 00:28:12,760
Speaker 1: heard any James Jamison stories whatsoever. For those that know,

623
00:28:12,840 --> 00:28:17,480
Speaker 1: James Jamerson is like the standard for which I personally

624
00:28:17,600 --> 00:28:21,359
Speaker 1: judge every bass player I ever played with. For those

625
00:28:21,400 --> 00:28:25,679
Speaker 1: of you that are fans of of d'angelo's Voodoo and

626
00:28:25,760 --> 00:28:30,560
Speaker 1: you praise Pinal Palladino, Pino Palladino's basically the second coming

627
00:28:30,600 --> 00:28:34,440
Speaker 1: to James Jamerson. Like his his finger game is far none.

628
00:28:34,480 --> 00:28:37,120
Speaker 1: I mean, he's emulating James Jamerson.

629
00:28:37,840 --> 00:28:40,720
Speaker 5: In the Shadows of Bowtown documentary is a good one

630
00:28:40,760 --> 00:28:44,800
Speaker 5: day Jamison everybody.

631
00:28:44,840 --> 00:28:46,320
Speaker 1: And they talked about the twenty grand as well.

632
00:28:46,880 --> 00:28:49,360
Speaker 3: So was it a generation separation? That's what I want

633
00:28:49,400 --> 00:28:51,760
Speaker 3: to know, Like it was sort of a generation separation,

634
00:28:51,920 --> 00:28:55,640
Speaker 3: you know, but they were they were good guys, the

635
00:28:55,920 --> 00:28:58,480
Speaker 3: Funk Brothers. You know, my mouth was probably a little

636
00:28:58,480 --> 00:29:00,640
Speaker 3: too big. I remember the first song learned to play

637
00:29:00,880 --> 00:29:04,240
Speaker 3: was I'm Losing You, and I had I had it down.

638
00:29:04,280 --> 00:29:06,240
Speaker 3: I mean, I had my Red three thirty five back

639
00:29:06,280 --> 00:29:10,280
Speaker 3: picker jink Lean in the bottom note. I had the

640
00:29:10,280 --> 00:29:13,680
Speaker 3: whole thing put together. And so I was showing Robert White.

641
00:29:13,720 --> 00:29:14,920
Speaker 3: You know, we were sitting in the studio and I'm

642
00:29:14,960 --> 00:29:18,280
Speaker 3: showing Robert White sort of not just playing for him,

643
00:29:18,280 --> 00:29:20,120
Speaker 3: but sort of like, look at me, watch this. You know,

644
00:29:20,120 --> 00:29:22,240
Speaker 3: I'm the man, you know. And Robert White looked at

645
00:29:22,240 --> 00:29:24,200
Speaker 3: me and says, he says, he says, that's really nice,

646
00:29:24,240 --> 00:29:26,640
Speaker 3: young man. I played on the original record.

647
00:29:26,440 --> 00:29:31,600
Speaker 1: You know, master.

648
00:29:31,880 --> 00:29:33,880
Speaker 3: I mean, you know, I'm like, really you playing on that?

649
00:29:34,000 --> 00:29:38,320
Speaker 3: I says, well, then he I found he played mocked on.

650
00:29:38,640 --> 00:29:40,520
Speaker 3: That's him on my girl. I mean, I was like,

651
00:29:40,960 --> 00:29:43,600
Speaker 3: I got quiet, you know, I got shut up. But

652
00:29:43,680 --> 00:29:45,760
Speaker 3: those guys were teaching us. So you know, Robert White

653
00:29:45,840 --> 00:29:48,160
Speaker 3: taught me a lot of rhythm stuff and and tricks

654
00:29:48,160 --> 00:29:50,400
Speaker 3: and how to phrase it and how to use the thing.

655
00:29:50,480 --> 00:29:52,400
Speaker 3: So they were real helpful. They were real good guys,

656
00:29:52,440 --> 00:29:52,960
Speaker 3: all of them.

657
00:29:53,120 --> 00:29:55,360
Speaker 1: So am I just assuming that there is what I

658
00:29:55,400 --> 00:29:59,560
Speaker 1: think are three classes, because obviously when Norman Woodfield really started,

659
00:29:59,720 --> 00:30:02,719
Speaker 1: UH kind of taken over where Holland DOJ or Holland

660
00:30:02,800 --> 00:30:05,960
Speaker 1: left off. If Holland DOJ Holland really utilized the Funk

661
00:30:06,000 --> 00:30:09,440
Speaker 1: Brothers to their full ability, I feel like Norman Woodfield

662
00:30:09,760 --> 00:30:11,320
Speaker 1: took Dennis Coffee's band.

663
00:30:11,480 --> 00:30:14,480
Speaker 3: And wait wasns Coffee's band or but he just took

664
00:30:14,480 --> 00:30:18,800
Speaker 3: Dennis Coffee and wah wah basically. But the even the

665
00:30:18,840 --> 00:30:21,360
Speaker 3: rhythm section was was different than he was some of

666
00:30:21,400 --> 00:30:23,920
Speaker 3: the same guys sometimes. Yeah, Jamison was on some of

667
00:30:23,920 --> 00:30:25,960
Speaker 3: his stuff before they could not get along.

668
00:30:26,000 --> 00:30:29,040
Speaker 1: They had some fights, you know, right, So I mean

669
00:30:29,040 --> 00:30:32,520
Speaker 1: by the time that they had made in their exodus

670
00:30:32,520 --> 00:30:34,680
Speaker 1: to Hollywood, what were you facing?

671
00:30:34,720 --> 00:30:38,160
Speaker 3: Then? That was a godsend that Holland dojoh Honald left

672
00:30:38,160 --> 00:30:42,880
Speaker 3: Motown really because yeah, because Jack Ashford, Dennis Coffee, Robert White,

673
00:30:42,920 --> 00:30:45,640
Speaker 3: they had Motown sold up. I did some Marvin Gay

674
00:30:45,680 --> 00:30:48,800
Speaker 3: albums when Marvin wanted to be different. I did one

675
00:30:48,880 --> 00:30:51,440
Speaker 3: thing with Smokey and the Snake Pit, but most of

676
00:30:51,480 --> 00:30:53,720
Speaker 3: the sessions were done by the Funk Brothers. So when

677
00:30:53,760 --> 00:30:56,000
Speaker 3: Holland Doja Holland left, the Funk Brothers weren't supposed to

678
00:30:56,040 --> 00:30:57,920
Speaker 3: be there. So that left me and my boys, me

679
00:30:57,960 --> 00:31:02,240
Speaker 3: and selvester step By, Oh yeah us one at the

680
00:31:02,680 --> 00:31:04,680
Speaker 3: young Man single in Free so we hit all that.

681
00:31:05,280 --> 00:31:06,800
Speaker 3: Of course, it is, yeah, all that.

682
00:31:06,760 --> 00:31:07,200
Speaker 1: Kind of stuff.

683
00:31:07,240 --> 00:31:10,360
Speaker 3: Chairman of the board, Laura Lee Free to pay I mean,

684
00:31:10,360 --> 00:31:12,440
Speaker 3: that's us doing all that those records. So that led

685
00:31:12,520 --> 00:31:13,720
Speaker 3: us in on the thing, you.

686
00:31:13,680 --> 00:31:15,800
Speaker 1: Know, job so you were the house band for it.

687
00:31:17,240 --> 00:31:21,560
Speaker 3: Yeah, I'm I'm on money. Yeah, that's all that's me. Yeah,

688
00:31:21,800 --> 00:31:24,040
Speaker 3: so we're having a good time. Marvin get cut a record.

689
00:31:24,280 --> 00:31:26,880
Speaker 3: I remember the first release was You're the Man, which

690
00:31:26,920 --> 00:31:29,040
Speaker 3: I'm playing two or three guitars on. That's me at

691
00:31:29,280 --> 00:31:33,959
Speaker 3: fifteen sixteen, and I'll never forget I made like twenty

692
00:31:34,040 --> 00:31:36,800
Speaker 3: grand in a month. My father worked at Ford. He

693
00:31:36,880 --> 00:31:39,880
Speaker 3: only made sixteen grand all year. So this posed a

694
00:31:40,080 --> 00:31:46,600
Speaker 3: real interesting problem. More money than fox, right, my dad?

695
00:31:47,000 --> 00:31:47,400
Speaker 1: My dad?

696
00:31:47,440 --> 00:31:49,200
Speaker 3: No. I had already told my dad I don't need

697
00:31:49,200 --> 00:31:51,080
Speaker 3: no money. I told him that at thirteen years I

698
00:31:51,120 --> 00:31:51,720
Speaker 3: got the money.

699
00:31:51,800 --> 00:31:52,320
Speaker 1: Damn good.

700
00:31:52,360 --> 00:31:54,200
Speaker 3: You don't have to pay nothing for me no more.

701
00:31:54,400 --> 00:31:56,160
Speaker 3: But what was interesting is now I'm starting to make

702
00:31:56,160 --> 00:31:57,960
Speaker 3: so much money. My dad thought for sure I was

703
00:31:58,000 --> 00:32:01,120
Speaker 3: selling drugs. He was one hundred percent sure, so he

704
00:32:01,320 --> 00:32:06,880
Speaker 3: hired my older cousin to follow me around. Now this

705
00:32:07,000 --> 00:32:09,880
Speaker 3: may have been prompted by if you ever saw the

706
00:32:09,920 --> 00:32:13,320
Speaker 3: movie Superfly, the blue Cadillac with all the stuff on it,

707
00:32:13,960 --> 00:32:16,720
Speaker 3: Marvin Gay had one just like it, but it was

708
00:32:16,760 --> 00:32:19,720
Speaker 3: burgundy with a burgundy top. It was cold bloody bug eyes.

709
00:32:19,880 --> 00:32:22,280
Speaker 3: I mean, you know this thing was that. So Marvin's

710
00:32:22,280 --> 00:32:26,840
Speaker 3: at the studio one day and he's smoking a joint

711
00:32:27,040 --> 00:32:29,160
Speaker 3: and I'd already kind of said, you know, I think

712
00:32:29,160 --> 00:32:31,120
Speaker 3: Bohanna or somebody told him, you know, Ray what to

713
00:32:31,240 --> 00:32:34,320
Speaker 3: join him. So Marvin felt bad, but he wasn't gonna

714
00:32:34,320 --> 00:32:36,800
Speaker 3: stop smoking his joint. He just felt bad about it.

715
00:32:36,800 --> 00:32:38,520
Speaker 3: So I'll never forget what he did. Man, I don't

716
00:32:38,520 --> 00:32:40,120
Speaker 3: know if I had a driver's license or not at

717
00:32:40,120 --> 00:32:42,480
Speaker 3: the time, but he looked over at me and says, man, Ray,

718
00:32:42,680 --> 00:32:44,320
Speaker 3: why don't you take the car for spend, go out

719
00:32:44,360 --> 00:32:45,880
Speaker 3: for a couple of hours to have a good time.

720
00:32:46,200 --> 00:32:48,720
Speaker 3: And I'm like, really, man, let me tell you. Let

721
00:32:48,760 --> 00:32:53,680
Speaker 3: me drive the pitmobile in Detroit. It was leaning so hard.

722
00:32:53,720 --> 00:32:55,120
Speaker 3: I think me and the mirror were like.

723
00:32:57,320 --> 00:32:57,880
Speaker 1: Sent it up.

724
00:32:57,920 --> 00:33:00,280
Speaker 3: You know, I'm driving through the neighborhood, so I know

725
00:33:00,400 --> 00:33:02,680
Speaker 3: because so I'm just trying to protect my dad. Now,

726
00:33:02,680 --> 00:33:04,440
Speaker 3: you know, he saw that too, so he at least

727
00:33:04,440 --> 00:33:06,760
Speaker 3: heard about it. He said, Man, we saw your son

728
00:33:07,240 --> 00:33:10,600
Speaker 3: driving a fifty thousand dollars cap. Now you said he

729
00:33:10,640 --> 00:33:12,680
Speaker 3: made how much money last night? You need to check

730
00:33:13,120 --> 00:33:16,200
Speaker 3: your own home, talk about us. So I'm pulling up

731
00:33:16,240 --> 00:33:18,480
Speaker 3: to the high school. I'm leaning hard, right, I can't

732
00:33:18,480 --> 00:33:20,400
Speaker 3: get not no girls in the car because I can't stop,

733
00:33:20,440 --> 00:33:22,800
Speaker 3: because I'm scared to stop. I'm just leaning. And if

734
00:33:22,800 --> 00:33:24,560
Speaker 3: the police come, I don't care. I'll take it. I

735
00:33:24,680 --> 00:33:26,600
Speaker 3: shot at it. But I drove around for a couple hours,

736
00:33:26,800 --> 00:33:28,560
Speaker 3: went back to study your best time in my life,

737
00:33:28,560 --> 00:33:28,800
Speaker 3: you know.

738
00:33:30,600 --> 00:33:33,520
Speaker 1: So your father just had no clue that you were

739
00:33:34,880 --> 00:33:37,920
Speaker 1: pretty much a genius at your craft at this point.

740
00:33:38,000 --> 00:33:39,800
Speaker 3: He thought that, first of all, if you weren't playing

741
00:33:39,800 --> 00:33:42,480
Speaker 3: the saxophone while you playing any music, he says, nobody

742
00:33:42,520 --> 00:33:45,280
Speaker 3: wants to hear anything about the saxophone. And my father

743
00:33:45,360 --> 00:33:46,800
Speaker 3: was much older than me, by the way, I should

744
00:33:46,840 --> 00:33:48,800
Speaker 3: say that he had me at forty six forty seven.

745
00:33:49,200 --> 00:33:50,680
Speaker 3: So in his mind all he knew was the jazz

746
00:33:50,760 --> 00:33:52,640
Speaker 3: musicians of the old days. They live out the suitcase,

747
00:33:52,680 --> 00:33:54,840
Speaker 3: they make five dollars, and they broke right.

748
00:33:54,920 --> 00:33:55,360
Speaker 1: So that's all.

749
00:33:55,440 --> 00:33:58,120
Speaker 3: He didn't understand what recording was or any of his stuff.

750
00:33:58,400 --> 00:34:02,880
Speaker 1: Okay, so what would a session musician in Detroit make

751
00:34:02,960 --> 00:34:05,080
Speaker 1: on a typical session? First of all, are you your

752
00:34:05,120 --> 00:34:05,719
Speaker 1: own agent?

753
00:34:06,280 --> 00:34:08,799
Speaker 3: Yes, okay, we had no agents. They just call you

754
00:34:08,800 --> 00:34:12,120
Speaker 3: on the phone. McKenley Jackson for Invictus would call up

755
00:34:12,120 --> 00:34:14,439
Speaker 3: and say, hey, we're cutting at such and such a time.

756
00:34:14,520 --> 00:34:16,879
Speaker 3: Can you make at ten o'clock ninety dollars for three

757
00:34:16,920 --> 00:34:17,480
Speaker 3: hour session?

758
00:34:17,840 --> 00:34:19,479
Speaker 1: How long do you have to learn the song?

759
00:34:20,160 --> 00:34:22,400
Speaker 3: You don't have long. They spend half an hour on

760
00:34:22,440 --> 00:34:23,800
Speaker 3: the drum sound.

761
00:34:24,560 --> 00:34:25,120
Speaker 1: You go in.

762
00:34:25,160 --> 00:34:28,840
Speaker 3: There wasn't no amplifiers. Everybody had a little ortone speaker

763
00:34:28,880 --> 00:34:31,360
Speaker 3: next to them, and in the main room at Motown,

764
00:34:31,520 --> 00:34:35,120
Speaker 3: everybody plugged in the same speaker, clapping that bass guitar,

765
00:34:35,160 --> 00:34:37,040
Speaker 3: everybody plugging the same thing. Then they had a drum

766
00:34:37,120 --> 00:34:39,759
Speaker 3: booth for the drums, so they you run the song

767
00:34:39,880 --> 00:34:42,040
Speaker 3: down a few times. But you gotta get three songs

768
00:34:42,080 --> 00:34:44,560
Speaker 3: in three hours, or don't nobody want to see you

769
00:34:44,560 --> 00:34:49,160
Speaker 3: no more. You gotta get three songs whatever. So you

770
00:34:49,239 --> 00:34:51,000
Speaker 3: got a half an hour setting up the thing. You

771
00:34:51,040 --> 00:34:52,719
Speaker 3: got to change the string, whatever, y'all got to tune

772
00:34:52,800 --> 00:34:53,160
Speaker 3: up whatever.

773
00:34:53,280 --> 00:34:53,560
Speaker 1: That's it.

774
00:34:53,880 --> 00:34:55,719
Speaker 3: Now, let's play and they come in and change the

775
00:34:55,760 --> 00:34:57,640
Speaker 3: parts and they run it down and you had to

776
00:34:57,680 --> 00:34:59,600
Speaker 3: get it. But what was exciting is you could hear

777
00:35:00,080 --> 00:35:03,120
Speaker 3: your song on the radio. Within ten days. They get

778
00:35:03,120 --> 00:35:04,920
Speaker 3: it out really quick back then, you know, and it

779
00:35:05,000 --> 00:35:06,680
Speaker 3: was a singles world. Back then, it wasn't a lot

780
00:35:06,719 --> 00:35:08,840
Speaker 3: of albums, so everything we cut was supposed to be

781
00:35:08,840 --> 00:35:09,440
Speaker 3: a hit single.

782
00:35:09,520 --> 00:35:12,920
Speaker 1: All right. So during this period, what is your proudest

783
00:35:12,920 --> 00:35:16,359
Speaker 1: moment of like, ah, that's my guitar? Like, what's what's

784
00:35:16,360 --> 00:35:16,919
Speaker 1: your man?

785
00:35:17,080 --> 00:35:19,600
Speaker 3: When I heard everything Good is Bad and Everything Bad

786
00:35:19,719 --> 00:35:22,440
Speaker 3: is Good come back? It had four of my guitars

787
00:35:22,440 --> 00:35:24,480
Speaker 3: on that overtop and I was up loud.

788
00:35:24,600 --> 00:35:26,239
Speaker 1: How many wait? How many tracks? Were?

789
00:35:26,280 --> 00:35:27,160
Speaker 3: Sixteen tracks?

790
00:35:27,440 --> 00:35:28,879
Speaker 1: Okay? So what year is this now?

791
00:35:29,160 --> 00:35:32,840
Speaker 3: This is nineteen seventy, I guess sixty nine seventy.

792
00:35:33,480 --> 00:35:37,479
Speaker 1: Okay. So the studio used is this god it sound?

793
00:35:37,560 --> 00:35:38,279
Speaker 1: Or is it no? No?

794
00:35:38,320 --> 00:35:41,000
Speaker 3: This was Holland Doja. Holland had their own studio and

795
00:35:41,040 --> 00:35:43,680
Speaker 3: it was in a burned down movie theater on Grand

796
00:35:43,719 --> 00:35:45,920
Speaker 3: River and Joy Road, which was happening to be two

797
00:35:45,920 --> 00:35:48,720
Speaker 3: blocks over from the Grandy ball Room, which was interesting

798
00:35:48,719 --> 00:35:52,640
Speaker 3: because I always wondered why they had a burnt down

799
00:35:52,680 --> 00:35:56,319
Speaker 3: movie studio and why they put all this sand under

800
00:35:56,360 --> 00:35:58,960
Speaker 3: the control room floor. And when I first built my

801
00:35:59,000 --> 00:36:02,120
Speaker 3: studio in Hollywood American studios, I didn't want to burn

802
00:36:02,160 --> 00:36:04,720
Speaker 3: down movie theater. But I did put sand under the floor,

803
00:36:04,920 --> 00:36:08,120
Speaker 3: which made it work right. And now that I'm older,

804
00:36:08,120 --> 00:36:10,640
Speaker 3: I traced it back to Memphis. The old Royal Studio

805
00:36:11,200 --> 00:36:13,759
Speaker 3: was in a burned down movie theater and they got

806
00:36:13,800 --> 00:36:16,160
Speaker 3: saying under the control room, and so it all really

807
00:36:16,200 --> 00:36:19,520
Speaker 3: started in Memphis. They were trying to imitate you know,

808
00:36:19,680 --> 00:36:24,720
Speaker 3: Sack exactly and Willie Mitchell during the Hollandojoh Holland period

809
00:36:24,760 --> 00:36:27,239
Speaker 3: and the Marvigay period. And I was just graduating out

810
00:36:27,280 --> 00:36:28,839
Speaker 3: of high school. You know, I got out of high

811
00:36:28,840 --> 00:36:31,360
Speaker 3: school at seventeen, so I'm now doing a year of college,

812
00:36:31,360 --> 00:36:32,880
Speaker 3: as I say, at the first In the middle of

813
00:36:32,920 --> 00:36:35,200
Speaker 3: the first year, which I hated, now, I was drafting

814
00:36:35,239 --> 00:36:37,640
Speaker 3: car parts for Ford Motor Company. I mean, if you

815
00:36:37,640 --> 00:36:39,319
Speaker 3: can imagine me with a suit and town, you know,

816
00:36:39,400 --> 00:36:42,319
Speaker 3: drawing car doors and trying to make it fit. You know,

817
00:36:42,840 --> 00:36:44,919
Speaker 3: that didn't work out for me, and Stevie Wonder called

818
00:36:44,920 --> 00:36:47,479
Speaker 3: me on the telephone and I had never met Stevie Wonder,

819
00:36:47,520 --> 00:36:50,000
Speaker 3: but Music from My Mind was my favorite album, you know,

820
00:36:50,040 --> 00:36:51,960
Speaker 3: of all time, which they recorded in this building.

821
00:36:51,960 --> 00:36:56,759
Speaker 1: By the way, What effected what effected music on my mind?

822
00:36:56,800 --> 00:36:59,120
Speaker 1: Have on you like, I never heard those sounds just

823
00:36:59,520 --> 00:37:03,440
Speaker 1: to hear, like, I never heard someone that was in

824
00:37:03,480 --> 00:37:05,279
Speaker 1: that era describe it. I mean, I know what it

825
00:37:05,320 --> 00:37:06,800
Speaker 1: is in hindsight and as an adult.

826
00:37:06,840 --> 00:37:08,960
Speaker 3: But by the way, that's my favorite album that he's

827
00:37:08,960 --> 00:37:12,120
Speaker 3: ever recorded, and it's him playing all the instruments, but

828
00:37:12,120 --> 00:37:15,719
Speaker 3: it's all these experimental sounds, and it's a breakaway from

829
00:37:15,719 --> 00:37:19,520
Speaker 3: the traditional motown sound. It's just him experimenting one hundred

830
00:37:19,520 --> 00:37:22,719
Speaker 3: percent free and experiment and just trying something totally new.

831
00:37:23,719 --> 00:37:25,400
Speaker 3: And so I had pretty much, you know, when I

832
00:37:25,440 --> 00:37:27,160
Speaker 3: first heard it, I'm not sure I liked it that

833
00:37:27,239 --> 00:37:29,279
Speaker 3: much because it was so new then as I then

834
00:37:29,480 --> 00:37:31,839
Speaker 3: a month later, I had thrown away every other record.

835
00:37:31,880 --> 00:37:33,640
Speaker 3: I had just had the eight track of that in

836
00:37:33,680 --> 00:37:35,520
Speaker 3: my car play along which.

837
00:37:35,360 --> 00:37:37,240
Speaker 6: One which one grabbed you the most? On the album,

838
00:37:37,320 --> 00:37:38,640
Speaker 6: like the first you know what?

839
00:37:38,680 --> 00:37:40,680
Speaker 3: I can't Marry wants to be super I can't. I

840
00:37:40,719 --> 00:37:42,400
Speaker 3: can't even say. I just would play the whole a

841
00:37:42,600 --> 00:37:44,440
Speaker 3: track and just let it play. And I used to

842
00:37:44,520 --> 00:37:47,960
Speaker 3: drive from Detroit to Cincinnati and back in eight hours

843
00:37:48,000 --> 00:37:49,880
Speaker 3: just so I could just nobody could talk to me.

844
00:37:49,920 --> 00:37:52,160
Speaker 3: I just turned up loud and just drive and just

845
00:37:52,200 --> 00:37:54,680
Speaker 3: listen to it was that, you know. So what happened

846
00:37:54,719 --> 00:37:58,040
Speaker 3: to me is right around my birthday in seventy two,

847
00:37:59,000 --> 00:38:01,120
Speaker 3: right before my eighteenth birthday, I got a phone call

848
00:38:01,160 --> 00:38:03,480
Speaker 3: from Stevie Wonder. And this is a true Strive told

849
00:38:03,520 --> 00:38:06,600
Speaker 3: before I hung up on him, you know, because.

850
00:38:06,360 --> 00:38:09,960
Speaker 1: I that's a common thing before ever. Yeah, no one

851
00:38:10,040 --> 00:38:10,600
Speaker 1: not believing.

852
00:38:12,080 --> 00:38:14,600
Speaker 3: I mean, I'm playing the song the album in my

853
00:38:14,680 --> 00:38:16,160
Speaker 3: car every day. I ain't got nothing but that, So

854
00:38:16,200 --> 00:38:18,200
Speaker 3: it's got to be one of my boys messing around

855
00:38:18,200 --> 00:38:20,200
Speaker 3: with me, got it, but you know, And he called

856
00:38:20,200 --> 00:38:22,000
Speaker 3: two or three times. I hung up two or three times.

857
00:38:22,040 --> 00:38:24,000
Speaker 3: Four times he called back. I said some not some

858
00:38:24,080 --> 00:38:28,160
Speaker 3: nice things, and then still hunt good thing. He had

859
00:38:28,160 --> 00:38:29,759
Speaker 3: a sense of humor, so he called back and fifth

860
00:38:29,760 --> 00:38:33,120
Speaker 3: times says, look, he says, we ain't we ain't communicating this,

861
00:38:33,280 --> 00:38:36,440
Speaker 3: Steve Wonder, he says, listening to this. And he played

862
00:38:36,480 --> 00:38:39,400
Speaker 3: me the rhythm track he had just started with Superstition,

863
00:38:39,440 --> 00:38:41,480
Speaker 3: and I almost hung up again because the rhythm track,

864
00:38:41,480 --> 00:38:45,880
Speaker 3: the Superstition starts off with marching drums, and I was like, oh,

865
00:38:45,920 --> 00:38:48,560
Speaker 3: that's bulls, you know. Then before I could hang up,

866
00:38:48,560 --> 00:38:53,799
Speaker 3: I heard thought I heard that, and I went, oh,

867
00:38:53,840 --> 00:38:59,319
Speaker 3: my god, I'm hanging up the phone, and there was

868
00:38:59,360 --> 00:39:02,760
Speaker 3: still this shoe of the college with the door parts

869
00:39:02,760 --> 00:39:06,720
Speaker 3: and learning that thing, you know, And there's major problem

870
00:39:06,760 --> 00:39:09,040
Speaker 3: there because my dad wanted me to finish college and

871
00:39:09,160 --> 00:39:11,759
Speaker 3: get a real job and have a pension plan.

872
00:39:12,200 --> 00:39:14,759
Speaker 1: This still wasn't a real jobs.

873
00:39:14,920 --> 00:39:18,920
Speaker 3: Dollars No twenty in one month right now. I remember,

874
00:39:18,960 --> 00:39:21,040
Speaker 3: I'm doing the twenty grand, making three fifty a week

875
00:39:21,040 --> 00:39:23,560
Speaker 3: at the twenty grand and cash no taxes. We didn't

876
00:39:23,600 --> 00:39:30,600
Speaker 3: pay taxes in Detroit three fifty weeks. He's right here, lazy.

877
00:39:31,680 --> 00:39:34,279
Speaker 3: Let's shoot ten years ago to mayridaon and paid tax

878
00:39:37,239 --> 00:39:39,960
Speaker 3: don't go back to hip hop. Make so we make

879
00:39:40,000 --> 00:39:43,280
Speaker 3: three fifty, So three fifty a week at twenty grand,

880
00:39:44,680 --> 00:39:47,400
Speaker 3: ninety dollars every three hour session at Hollands in Holland,

881
00:39:47,680 --> 00:39:50,120
Speaker 3: and then that one month with Marvin Gay and Jewish

882
00:39:50,200 --> 00:39:53,040
Speaker 3: bar misisfais and weddings on the weekends pay like thirty

883
00:39:53,040 --> 00:39:54,759
Speaker 3: five forty bucks and we could do three, four to

884
00:39:54,840 --> 00:39:57,960
Speaker 3: five of those easy. So we're making money in Detroit.

885
00:39:58,640 --> 00:40:01,320
Speaker 6: Want your dad a house for some of this money?

886
00:40:01,400 --> 00:40:04,239
Speaker 3: Likes pretty much? Yeah, But instead I bought myself a

887
00:40:04,280 --> 00:40:05,160
Speaker 3: really nice con.

888
00:40:07,600 --> 00:40:08,280
Speaker 1: It's crazy.

889
00:40:09,040 --> 00:40:10,799
Speaker 3: In the first house I bought, I bought my dad house.

890
00:40:10,800 --> 00:40:13,279
Speaker 3: I did do that, so just so you'll know, when

891
00:40:13,320 --> 00:40:15,240
Speaker 3: I made some real money, I bought my dad house.

892
00:40:15,320 --> 00:40:17,960
Speaker 3: Mom took care of everybody, paid all the bills. They

893
00:40:17,960 --> 00:40:20,160
Speaker 3: never paid a pen anymore for the rest of their life.

894
00:40:20,880 --> 00:40:22,440
Speaker 6: And he still didn't he didn't say you should still

895
00:40:22,480 --> 00:40:23,080
Speaker 6: finish college.

896
00:40:23,239 --> 00:40:25,160
Speaker 3: By that time I was twenty two, he was done talking.

897
00:40:25,200 --> 00:40:30,359
Speaker 1: Okay, parent gave all that parents do that like just

898
00:40:30,400 --> 00:40:33,160
Speaker 1: siding deep deep into Hiladelph half life. My dad was

899
00:40:33,200 --> 00:40:35,400
Speaker 1: still getting it. You gotta get a real job exactly

900
00:40:35,760 --> 00:40:37,600
Speaker 1: like it's my third record.

901
00:40:37,680 --> 00:40:39,839
Speaker 3: He's like, you gotta get a real job, your son

902
00:40:39,880 --> 00:40:41,719
Speaker 3: and I love you. Gotta come on straighten up.

903
00:40:42,960 --> 00:40:44,239
Speaker 1: Yeah I got that. I didn't get it.

904
00:40:44,239 --> 00:40:46,239
Speaker 5: It didn't get real to my mom until she saw

905
00:40:46,280 --> 00:40:49,600
Speaker 5: me on the cover of Double XL, Like when she

906
00:40:49,760 --> 00:40:51,680
Speaker 5: like when she saw us on double x L and

907
00:40:51,719 --> 00:40:54,120
Speaker 5: then like the sowreds like see me in magazines.

908
00:40:54,160 --> 00:40:55,680
Speaker 1: That was when somebody your second album.

909
00:40:55,719 --> 00:40:57,799
Speaker 5: It was like it was like, okay, it's it's real.

910
00:41:02,760 --> 00:41:05,200
Speaker 5: So with Stevie, did you.

911
00:41:04,480 --> 00:41:07,200
Speaker 3: You finally moved? When did you move to Los Angeles?

912
00:41:07,640 --> 00:41:10,640
Speaker 3: I moved to Los Angeles soon as I quit Stevie's band,

913
00:41:11,280 --> 00:41:13,360
Speaker 3: and I stayed in the band a good eight months.

914
00:41:13,440 --> 00:41:15,879
Speaker 3: I guess something like that. You know, I always wanted

915
00:41:15,880 --> 00:41:17,600
Speaker 3: to go to l A. I just I felt like,

916
00:41:17,840 --> 00:41:20,440
Speaker 3: you know, even in Detroit it's good. It was always

917
00:41:20,440 --> 00:41:22,640
Speaker 3: felt like the stork made a mistake and like dropped

918
00:41:22,680 --> 00:41:26,000
Speaker 3: me in the wrong neighbor. It just felt like that

919
00:41:26,040 --> 00:41:27,920
Speaker 3: for some reason. You know, Like I saw the Beverly

920
00:41:27,960 --> 00:41:29,919
Speaker 3: Hills Billies on TV and I was like, wow, that's

921
00:41:30,200 --> 00:41:33,000
Speaker 3: I like that restaurant rod, you know, swimming pools, movie

922
00:41:33,040 --> 00:41:36,200
Speaker 3: stars in the sunlight, and you know, I remember seeing

923
00:41:36,239 --> 00:41:38,440
Speaker 3: Leave It to Beaver. Nobody ever stole Beaver's bike and

924
00:41:38,480 --> 00:41:41,680
Speaker 3: he rode it to school. You know, I was getting

925
00:41:41,760 --> 00:41:44,560
Speaker 3: nice for my jacket. I'm getting knife stuff for my jacket,

926
00:41:44,600 --> 00:41:46,879
Speaker 3: and everybody got guns and we're going to pick each

927
00:41:46,920 --> 00:41:48,400
Speaker 3: other up in the alley and go to school and

928
00:41:48,480 --> 00:41:50,319
Speaker 3: the group and all that kind of stuff. Beaver didn't

929
00:41:50,320 --> 00:41:51,920
Speaker 3: have to do none of that stuff, you know, So

930
00:41:52,000 --> 00:41:53,839
Speaker 3: I just I didn't know the difference. I just would

931
00:41:53,840 --> 00:41:56,759
Speaker 3: ask my parents where's that at, and they'd all stay California.

932
00:41:56,800 --> 00:41:59,160
Speaker 3: I mean, everything was movies were done in Califoria. I

933
00:41:59,200 --> 00:42:01,480
Speaker 3: just thought, well, they don't rob you in California, so

934
00:42:01,600 --> 00:42:04,600
Speaker 3: I mean it should be cool. Yeah, they sure do.

935
00:42:04,760 --> 00:42:07,239
Speaker 3: And I learned that when I got there too. They

936
00:42:07,280 --> 00:42:08,759
Speaker 3: steal your money and it takes your year or two

937
00:42:08,800 --> 00:42:12,280
Speaker 3: to figure out that you lost, like what happened.

938
00:42:13,200 --> 00:42:15,600
Speaker 1: So when you're touring with Stevie, I mean you're with

939
00:42:16,120 --> 00:42:19,359
Speaker 1: the heavy I mean again, in hindsight, I don't think

940
00:42:19,400 --> 00:42:21,759
Speaker 1: you saw it as man, these are the heavyweights. But

941
00:42:22,160 --> 00:42:23,520
Speaker 1: I mean it's like, you.

942
00:42:23,480 --> 00:42:27,360
Speaker 5: Know Williams, Denise Williams, and was Raymond Pounds with you

943
00:42:27,480 --> 00:42:30,239
Speaker 5: or was like he wasn't was somebody before Ali?

944
00:42:30,320 --> 00:42:32,880
Speaker 3: I got Ali in the band. After Stevie and the

945
00:42:32,960 --> 00:42:34,960
Speaker 3: drummer things name is Chris, they had a fight and

946
00:42:34,960 --> 00:42:36,839
Speaker 3: the drummer said, blind for me, I'm gonna kick Steve.

947
00:42:40,800 --> 00:42:42,920
Speaker 3: How about this, Stevie want is used to being blind.

948
00:42:43,520 --> 00:42:45,400
Speaker 3: The drummer thought he could put a thing around his

949
00:42:45,400 --> 00:42:47,680
Speaker 3: eye and make it even, and so he went for

950
00:42:47,760 --> 00:42:50,560
Speaker 3: blows and Stevie every time he wait a minute, they

951
00:42:50,840 --> 00:42:52,359
Speaker 3: he fist fought. They got into a.

952
00:42:52,280 --> 00:42:56,520
Speaker 6: Fist exclusive.

953
00:42:57,960 --> 00:42:59,640
Speaker 3: So I didn't think that was even in let. But

954
00:42:59,680 --> 00:43:02,520
Speaker 3: they ended up and of course, you know Stevie. Every

955
00:43:02,560 --> 00:43:05,160
Speaker 3: time the guy even turned his head, Bawn Stevie was.

956
00:43:07,840 --> 00:43:10,200
Speaker 1: Left. It was it was baby.

957
00:43:10,000 --> 00:43:12,520
Speaker 5: Was like bang and so we all had accepted to

958
00:43:12,560 --> 00:43:16,480
Speaker 5: the darkness.

959
00:43:16,920 --> 00:43:19,120
Speaker 3: Wait a minute. It didn't take long before we had

960
00:43:19,120 --> 00:43:22,040
Speaker 3: to stop the fight. And then this guy still got fired,

961
00:43:23,000 --> 00:43:26,120
Speaker 3: so he lost this game. That's what they got in

962
00:43:26,160 --> 00:43:29,560
Speaker 3: the band. But we did have Randy Brecker, David Sanborn,

963
00:43:29,719 --> 00:43:31,480
Speaker 3: Denise Williams, you know. So it was it was a

964
00:43:32,320 --> 00:43:35,440
Speaker 3: lot of people in this band, Heavywey, Scotti, Edwards, you know.

965
00:43:35,920 --> 00:43:36,879
Speaker 3: It was a great band.

966
00:43:36,960 --> 00:43:40,160
Speaker 1: So were you part of the infamous uh Rolling Stones tour?

967
00:43:40,360 --> 00:43:43,400
Speaker 3: Absolutely his first tour. I've been on the big tour, coy,

968
00:43:43,600 --> 00:43:47,440
Speaker 3: why not? Just was the reception like the reception, yes, no, no, no,

969
00:43:48,400 --> 00:43:49,120
Speaker 3: Well this is the thing.

970
00:43:49,320 --> 00:43:54,000
Speaker 1: So we we interviewed the Revolution, uh some episodes back

971
00:43:54,200 --> 00:43:57,239
Speaker 1: and of course, and I've heard mixed side of the

972
00:43:57,239 --> 00:43:58,759
Speaker 1: story as well, and he was like, well, you know,

973
00:43:59,239 --> 00:44:01,279
Speaker 1: he's on stage in his underwear, so of course they're

974
00:44:01,280 --> 00:44:04,280
Speaker 1: going to throw stuff at him. The Revolution was basically

975
00:44:04,280 --> 00:44:08,879
Speaker 1: saying that, you know, Rolling Stones audience wasn't receiving them well,

976
00:44:08,920 --> 00:44:11,080
Speaker 1: and they got booed and pelted with Jack Daniel bottom.

977
00:44:11,120 --> 00:44:13,040
Speaker 3: I was there when when Prince got hit with the jack.

978
00:44:13,120 --> 00:44:22,120
Speaker 3: Daniels got hit in the head with the bottle. He

979
00:44:22,200 --> 00:44:25,160
Speaker 3: got that head somewhere in l A. He got hit

980
00:44:25,200 --> 00:44:26,879
Speaker 3: in the head with the jack. I had to get

981
00:44:26,920 --> 00:44:30,600
Speaker 3: off the stage. He got hit in the head. They

982
00:44:30,600 --> 00:44:32,759
Speaker 3: said play them and roll. I mean it was like bad,

983
00:44:32,880 --> 00:44:33,040
Speaker 3: you know.

984
00:44:33,200 --> 00:44:35,760
Speaker 1: I mean he came out the gates smoking with the guitar.

985
00:44:35,840 --> 00:44:36,719
Speaker 3: Solo was still.

986
00:44:36,480 --> 00:44:39,480
Speaker 1: And there's theories behind that.

987
00:44:39,600 --> 00:44:43,239
Speaker 3: But like with you, was there fear like we might not.

988
00:44:43,600 --> 00:44:45,240
Speaker 3: First of all, I was too young to know anything.

989
00:44:45,280 --> 00:44:47,600
Speaker 3: I thought that Rolling Stones had already come on. I

990
00:44:47,600 --> 00:44:52,960
Speaker 3: thought Stevie was the headlined okay, So it took me

991
00:44:53,000 --> 00:44:54,919
Speaker 3: a minute or two. By the time the tear gas

992
00:44:54,960 --> 00:44:57,120
Speaker 3: got in the limousine, I figured out, okay, something else

993
00:44:57,200 --> 00:44:59,040
Speaker 3: is happening here, and the.

994
00:44:59,080 --> 00:44:59,600
Speaker 1: Whole thing, you know.

995
00:44:59,760 --> 00:45:01,440
Speaker 3: So the whole thing, now, you gotta remember, this was

996
00:45:01,880 --> 00:45:04,359
Speaker 3: I haven't really discovered girls yet, but I was about

997
00:45:04,440 --> 00:45:08,680
Speaker 3: to discover lots of girls. So this is the first

998
00:45:08,760 --> 00:45:10,680
Speaker 3: really big tour, like go away from home and state

999
00:45:10,719 --> 00:45:12,560
Speaker 3: for more than a week that I'd ever been on.

1000
00:45:12,920 --> 00:45:14,960
Speaker 3: Was the Rolling Stones tour in nineteen seventy two, and

1001
00:45:14,960 --> 00:45:16,879
Speaker 3: they were wonderful guys. We all had a great time.

1002
00:45:17,520 --> 00:45:19,960
Speaker 3: No one bowed Stevie Wonder off the stage, that told

1003
00:45:20,040 --> 00:45:21,800
Speaker 3: him to get off. We didn't have that same experience

1004
00:45:21,800 --> 00:45:24,400
Speaker 3: as some of the other groups had, you know, maybe

1005
00:45:24,400 --> 00:45:26,239
Speaker 3: because he got the respect. And then we'd always go

1006
00:45:26,280 --> 00:45:28,600
Speaker 3: play a few songs with the Stones, and you know,

1007
00:45:28,680 --> 00:45:30,799
Speaker 3: we got to go to Playboy Mansion, which I had

1008
00:45:30,840 --> 00:45:32,560
Speaker 3: never been before.

1009
00:45:33,560 --> 00:45:37,000
Speaker 1: Eighteen eighteen. Yeah, there's a documentary of it called the

1010
00:45:37,320 --> 00:45:39,120
Speaker 1: You ever see the Cocksucker's Blues?

1011
00:45:39,520 --> 00:45:40,840
Speaker 3: The Rolling Stones documentary?

1012
00:45:41,200 --> 00:45:44,040
Speaker 1: Yeah, they show I guess you guys playing satisfaction with.

1013
00:45:44,360 --> 00:45:47,680
Speaker 3: Yeah, the little skinny kid with a rig good time.

1014
00:45:47,719 --> 00:45:51,239
Speaker 3: He really skinny baffro that be me? So were you

1015
00:45:51,280 --> 00:45:54,080
Speaker 3: ever like on their airplane? And that's supposed to be

1016
00:45:54,080 --> 00:46:00,680
Speaker 3: the penultimate standard of just rock excess? Yeah, yeah, that's

1017
00:46:00,680 --> 00:46:04,200
Speaker 3: supposed to be the beginning. It was pretty bad. There

1018
00:46:04,239 --> 00:46:06,480
Speaker 3: was a lot of going on. There was a lot

1019
00:46:06,520 --> 00:46:06,799
Speaker 3: of things.

1020
00:46:06,840 --> 00:46:08,719
Speaker 6: Because if you don't like to smell of weed like.

1021
00:46:09,200 --> 00:46:11,880
Speaker 3: That, you know, I didn't do that. I didn't partake

1022
00:46:12,040 --> 00:46:17,120
Speaker 3: in that type activity. Let you do it, and I

1023
00:46:17,160 --> 00:46:21,160
Speaker 3: do remember that, you know, last I had checked cocaine

1024
00:46:21,200 --> 00:46:25,200
Speaker 3: was white. Their cocaine was crystal clear, and it was

1025
00:46:25,239 --> 00:46:27,560
Speaker 3: clear and it went up in a cone like that

1026
00:46:27,719 --> 00:46:29,640
Speaker 3: high and people could just go back and just get

1027
00:46:29,680 --> 00:46:32,520
Speaker 3: all they want. So this was only for eight months.

1028
00:46:33,600 --> 00:46:36,160
Speaker 3: The Roalinstones tours for about four months, but I mean

1029
00:46:36,200 --> 00:46:39,319
Speaker 3: your college tour with Stevie after that.

1030
00:46:39,840 --> 00:46:44,320
Speaker 1: So this is also I mean his morphing into something

1031
00:46:44,360 --> 00:46:47,080
Speaker 1: other than little Stevie Wonder or just a big time Yeah.

1032
00:46:47,160 --> 00:46:49,600
Speaker 3: Yeah, he had changed and he became a he's an

1033
00:46:49,640 --> 00:46:52,040
Speaker 3: interesting guy, but he really was. We used to hang

1034
00:46:52,080 --> 00:46:54,520
Speaker 3: out all the time, like we raced cars, you know,

1035
00:46:54,600 --> 00:46:56,320
Speaker 3: and we crashed.

1036
00:46:57,280 --> 00:46:57,600
Speaker 1: Drive.

1037
00:46:58,880 --> 00:47:01,000
Speaker 3: Oh if you didn't let him drive your fifty dollars fine?

1038
00:47:01,719 --> 00:47:03,320
Speaker 3: Wait what yeah?

1039
00:47:04,080 --> 00:47:10,000
Speaker 5: Yeah, yeah, yeah, this is like this episode is gonna

1040
00:47:10,040 --> 00:47:11,800
Speaker 5: fuel all the STEVIEE ain't blind.

1041
00:47:14,200 --> 00:47:17,799
Speaker 1: Con don't believe the STEVIEE is blind. It's not gonna

1042
00:47:17,920 --> 00:47:18,279
Speaker 1: If you're.

1043
00:47:18,160 --> 00:47:20,680
Speaker 3: Sitting next to STEVEE, you know he's blind and he's

1044
00:47:20,760 --> 00:47:23,279
Speaker 3: driving the car. Now he insists on driving.

1045
00:47:23,320 --> 00:47:27,880
Speaker 1: Because he insisted when you being in the passenger instructions.

1046
00:47:27,960 --> 00:47:30,719
Speaker 3: Yeah, and what's worse than that is he insisted on

1047
00:47:30,840 --> 00:47:33,560
Speaker 3: me driving and then we'd have to race the car

1048
00:47:33,640 --> 00:47:36,359
Speaker 3: next to us, and he didn't care about hitting the car.

1049
00:47:36,440 --> 00:47:37,080
Speaker 1: He said, we'll hit him.

1050
00:47:37,120 --> 00:47:38,600
Speaker 4: Then I was about to say he's been and he's

1051
00:47:38,640 --> 00:47:41,200
Speaker 4: been in car accidents and he still drives.

1052
00:47:41,440 --> 00:47:42,880
Speaker 3: Let me tell you something. He hadn't been in the

1053
00:47:42,920 --> 00:47:46,759
Speaker 3: car incident yet. This was I still got some reservations

1054
00:47:46,760 --> 00:47:50,319
Speaker 3: about what happened. I'm gonna leave that alone because I

1055
00:47:50,400 --> 00:47:53,120
Speaker 3: wasn't there. Now that was a couple of years later.

1056
00:47:53,920 --> 00:47:58,080
Speaker 3: I wasn't there. But you know how you hear something

1057
00:47:58,080 --> 00:48:00,480
Speaker 3: on the radio like all that car dashus, You're like, well,

1058
00:48:00,480 --> 00:48:01,240
Speaker 3: what really happened?

1059
00:48:01,320 --> 00:48:06,759
Speaker 1: What happened? How does a limousine crash into a log thing?

1060
00:48:06,880 --> 00:48:06,920
Speaker 5: And?

1061
00:48:08,239 --> 00:48:11,080
Speaker 3: Oh boy, so I mean you just you know, come.

1062
00:48:10,960 --> 00:48:12,800
Speaker 6: On on the cost.

1063
00:48:12,680 --> 00:48:18,640
Speaker 1: Show you getting the side now that we're in the seventies.

1064
00:48:18,800 --> 00:48:20,000
Speaker 1: Was Barry White next?

1065
00:48:20,840 --> 00:48:24,480
Speaker 3: When first I left, See, I left Stevie's band because

1066
00:48:24,520 --> 00:48:26,040
Speaker 3: he was teaching me how to write songs. I had

1067
00:48:26,040 --> 00:48:28,680
Speaker 3: Buddy Miles playing the guitar upside down on some of

1068
00:48:28,719 --> 00:48:30,200
Speaker 3: my songs, and me and Stevie cut a bunch of

1069
00:48:30,239 --> 00:48:33,360
Speaker 3: stuff with us singing. But somehow he wasn't gonna release it.

1070
00:48:33,400 --> 00:48:35,720
Speaker 3: I figured it took me a minute, but I figured

1071
00:48:35,719 --> 00:48:37,359
Speaker 3: out he really wasn't gonna let me put it out,

1072
00:48:38,320 --> 00:48:39,800
Speaker 3: and so that sort of broke my heart because he

1073
00:48:39,800 --> 00:48:41,600
Speaker 3: didn't want me to lead a band, you know, so

1074
00:48:41,840 --> 00:48:44,120
Speaker 3: I wanted to lead a band again. Ray Parker Junior, man,

1075
00:48:44,160 --> 00:48:46,360
Speaker 3: you're too valuable. Well, at the time I was his

1076
00:48:46,480 --> 00:48:48,640
Speaker 3: guitar player. You know, he wasn't feeling it, you know,

1077
00:48:49,040 --> 00:48:50,840
Speaker 3: was supposed to be his boy. So he took it

1078
00:48:50,960 --> 00:48:53,279
Speaker 3: kind of personal that I left the band. But we

1079
00:48:53,360 --> 00:48:55,359
Speaker 3: were still really good friends because after that, I got

1080
00:48:55,440 --> 00:48:58,200
Speaker 3: Nathan in the band, which is our story into itself.

1081
00:48:58,640 --> 00:49:01,440
Speaker 3: Let's talk about it. Still in the band, right, Yeah,

1082
00:49:01,520 --> 00:49:03,560
Speaker 3: what's interest. Nathan's the band leader. He's been there forty

1083
00:49:03,600 --> 00:49:04,040
Speaker 3: three years.

1084
00:49:04,520 --> 00:49:07,359
Speaker 1: But the great Nathan Wats by the way, yes, master

1085
00:49:07,440 --> 00:49:10,640
Speaker 1: bass player. I had got this is a year and

1086
00:49:10,680 --> 00:49:12,880
Speaker 1: a half after I left the band. Me and Stevie

1087
00:49:12,920 --> 00:49:15,240
Speaker 1: would still drive around LA and we parted in hangout

1088
00:49:15,480 --> 00:49:17,800
Speaker 1: and I got Reggie McBride in the band because me

1089
00:49:17,840 --> 00:49:19,719
Speaker 1: and Reggie used to play together at twelve years old.

1090
00:49:19,800 --> 00:49:22,279
Speaker 3: Wow, the time this got tom Gary used to play

1091
00:49:22,280 --> 00:49:24,920
Speaker 3: at twenty grand in the other room. And so Reggie

1092
00:49:25,040 --> 00:49:27,400
Speaker 3: left the band and went to Rare Earth. And then

1093
00:49:27,440 --> 00:49:29,640
Speaker 3: Stevie said, well, I want somebody else from Detroit in

1094
00:49:29,719 --> 00:49:32,000
Speaker 3: the same neighborhood. He wants that type of human being,

1095
00:49:32,160 --> 00:49:34,600
Speaker 3: that type of vibe. The only person left was Nathan,

1096
00:49:34,640 --> 00:49:37,239
Speaker 3: who played the trumpet, right, And I said, well, I

1097
00:49:37,280 --> 00:49:39,279
Speaker 3: got my buddy Nathan who plays the trumpet. He wants

1098
00:49:39,280 --> 00:49:39,799
Speaker 3: to play the bass.

1099
00:49:39,920 --> 00:49:40,200
Speaker 1: Head.

1100
00:49:40,239 --> 00:49:42,440
Speaker 3: I said, he can't play the bass yet. You just started,

1101
00:49:42,520 --> 00:49:45,040
Speaker 3: you know, And Stevie said, we have him come out there.

1102
00:49:45,080 --> 00:49:46,839
Speaker 3: He says, he you a fast learner. I said, well,

1103
00:49:46,840 --> 00:49:49,520
Speaker 3: he's a fast learner, but he he ain't got the

1104
00:49:49,600 --> 00:49:51,960
Speaker 3: bass yet, right, So he had some kind of cheap

1105
00:49:51,960 --> 00:49:55,000
Speaker 3: harmony bass, and I remember Stevie heard him at audition

1106
00:49:55,080 --> 00:49:58,160
Speaker 3: Saivent sounds really weird, you know. So then Nathan took

1107
00:49:58,239 --> 00:50:01,200
Speaker 3: my bass and went on this stevee on my base.

1108
00:50:01,680 --> 00:50:03,600
Speaker 3: And the way the story goes, Nathan told me he's

1109
00:50:03,680 --> 00:50:06,200
Speaker 3: eighteen other bass players there and everybody could outplay him

1110
00:50:06,360 --> 00:50:08,200
Speaker 3: ten to one, but he still got the gig.

1111
00:50:08,320 --> 00:50:09,440
Speaker 1: You know, what do you think?

1112
00:50:10,000 --> 00:50:12,240
Speaker 3: So he learned how to because Stevie just wants somebody

1113
00:50:12,280 --> 00:50:15,000
Speaker 3: from Detroit in the club down the street from me,

1114
00:50:15,600 --> 00:50:18,279
Speaker 3: the whole bit, and so he basically taught Nathan how

1115
00:50:18,280 --> 00:50:20,160
Speaker 3: to play, but not how to play the bass. It's

1116
00:50:20,200 --> 00:50:22,040
Speaker 3: his first gig, his first gig.

1117
00:50:21,880 --> 00:50:28,560
Speaker 1: Ever in life. So how does he because he can't see.

1118
00:50:29,600 --> 00:50:34,560
Speaker 3: Is it a lot of or can he cannot see?

1119
00:50:35,800 --> 00:50:38,640
Speaker 1: So how are you guys learning? First of all, how

1120
00:50:38,760 --> 00:50:40,840
Speaker 1: is he writing these songs?

1121
00:50:41,200 --> 00:50:42,880
Speaker 3: I've heard he writes him in his head and he

1122
00:50:43,080 --> 00:50:45,279
Speaker 3: just play. He remembers every part, every everything, and he

1123
00:50:45,280 --> 00:50:46,800
Speaker 3: could play all part like I was in the studio

1124
00:50:46,840 --> 00:50:48,719
Speaker 3: with him one hundred percent the whole time when he

1125
00:50:48,760 --> 00:50:50,800
Speaker 3: did Living for the City, and he started with the

1126
00:50:50,960 --> 00:50:53,000
Speaker 3: Fender Rose no click track, with no click tracks at

1127
00:50:53,000 --> 00:50:55,000
Speaker 3: those times, so he just played it like this and

1128
00:50:55,080 --> 00:51:00,560
Speaker 3: it really got weird when it done. And then you know,

1129
00:51:00,600 --> 00:51:03,600
Speaker 3: those chords going off beasts, you know. I was like, oh, homeboys,

1130
00:51:03,960 --> 00:51:08,520
Speaker 3: you know, might be smoking. But I mean, you know,

1131
00:51:08,640 --> 00:51:10,920
Speaker 3: then he would layer it and then we'll come together.

1132
00:51:12,480 --> 00:51:15,560
Speaker 3: Put the drums on last. Always put the drums on last. Really, yeah,

1133
00:51:16,120 --> 00:51:18,879
Speaker 3: you always put your drums on last, usually the drums

1134
00:51:18,920 --> 00:51:19,280
Speaker 3: and drums.

1135
00:51:20,760 --> 00:51:21,440
Speaker 1: But that's interesting.

1136
00:51:21,560 --> 00:51:23,600
Speaker 3: Yeah, see me, I put a couple of parts down,

1137
00:51:23,600 --> 00:51:25,080
Speaker 3: but I need to put the drums down then locked,

1138
00:51:25,160 --> 00:51:27,759
Speaker 3: relock the base and everything back to whatever it is.

1139
00:51:27,880 --> 00:51:29,879
Speaker 3: But he just puts down putsing drums on last.

1140
00:51:30,520 --> 00:51:34,280
Speaker 1: I always wanted to know how does he not tape ideas,

1141
00:51:34,560 --> 00:51:37,800
Speaker 1: especially when he can't. Well, I'm sure that he writes,

1142
00:51:37,920 --> 00:51:41,279
Speaker 1: but I mean for you guys to know what he's thinking.

1143
00:51:41,320 --> 00:51:43,040
Speaker 3: He hears it in his head and he'll give it

1144
00:51:43,120 --> 00:51:45,640
Speaker 3: to you, but mostly on his records. That's him playing

1145
00:51:45,680 --> 00:51:47,440
Speaker 3: most of the stuff a lot of the time. Then

1146
00:51:47,480 --> 00:51:49,400
Speaker 3: he'll overdub what he needs.

1147
00:51:49,520 --> 00:51:51,080
Speaker 1: So you're only getting the finished product. Then.

1148
00:51:51,160 --> 00:51:53,400
Speaker 3: Yeah, yeah, he plays the drums and stuff. Like when

1149
00:51:53,440 --> 00:51:55,319
Speaker 3: we did Maybe a Baby, the track was pretty much

1150
00:51:55,400 --> 00:51:59,480
Speaker 3: done okay, and more trivia. It's funny the second engineer

1151
00:51:59,520 --> 00:52:02,960
Speaker 3: we did that crystal sound in La turns out years

1152
00:52:03,040 --> 00:52:07,040
Speaker 3: later second engineer with Steve Perry from Journey Second. Yeah,

1153
00:52:07,080 --> 00:52:08,520
Speaker 3: he was the second engineer on the date.

1154
00:52:08,600 --> 00:52:09,080
Speaker 1: That's crazy.

1155
00:52:13,480 --> 00:52:15,160
Speaker 3: Wow. So you know old Sherry thing.

1156
00:52:15,880 --> 00:52:16,440
Speaker 1: There's a lot of.

1157
00:52:16,440 --> 00:52:18,239
Speaker 3: Stuff going on at that time. You know, it's an

1158
00:52:18,320 --> 00:52:20,520
Speaker 3: interesting time period in life, you know. I mean, I

1159
00:52:20,600 --> 00:52:21,879
Speaker 3: look back on it as a whole bunch of gread,

1160
00:52:21,960 --> 00:52:24,120
Speaker 3: but at the time, just what was happening that was it?

1161
00:52:25,080 --> 00:52:25,239
Speaker 6: Well?

1162
00:52:25,280 --> 00:52:27,680
Speaker 1: I wanted to ask about that. When you did Barry White,

1163
00:52:27,840 --> 00:52:31,719
Speaker 1: was it just studio sessions or was it also touring

1164
00:52:31,800 --> 00:52:32,080
Speaker 1: with him.

1165
00:52:32,200 --> 00:52:35,480
Speaker 3: Yeah, I did both. Okay, how did y'all get paid?

1166
00:52:35,600 --> 00:52:40,920
Speaker 3: Because Money had like seventy people on the band like

1167
00:52:41,920 --> 00:52:44,000
Speaker 3: every show. I don't know about the other guys, but

1168
00:52:44,080 --> 00:52:46,600
Speaker 3: I was getting triple scale playing with Barry White in

1169
00:52:46,680 --> 00:52:49,480
Speaker 3: the studio. But it was I came a little late,

1170
00:52:49,600 --> 00:52:52,320
Speaker 3: like I missed a dude, because I was playing with

1171
00:52:52,360 --> 00:52:57,080
Speaker 3: Stevie one tour and I met Barry White the next year,

1172
00:52:57,440 --> 00:53:01,000
Speaker 3: the following year, and he was my first, my last one,

1173
00:53:01,040 --> 00:53:03,160
Speaker 3: everything even before that. But he was like a rough

1174
00:53:03,239 --> 00:53:05,839
Speaker 3: neck kind of guy. I was going to gangster from

1175
00:53:05,880 --> 00:53:08,480
Speaker 3: the hood and you know, and I was a Detroit boy.

1176
00:53:08,520 --> 00:53:10,320
Speaker 3: I wasn't you know that clean, you know. So I

1177
00:53:10,400 --> 00:53:13,080
Speaker 3: had my afro, had my Lincoln content and gene Page

1178
00:53:13,200 --> 00:53:15,840
Speaker 3: famous ring. He needs we need to get him an

1179
00:53:15,880 --> 00:53:19,320
Speaker 3: award on he needs a pro here. Yeah, he's unbelievable,

1180
00:53:19,520 --> 00:53:23,480
Speaker 3: all Lionel Richard. He even did the the Righteous Brothers song. Yeah,

1181
00:53:24,200 --> 00:53:26,120
Speaker 3: so he's a he's He was a good friend of

1182
00:53:26,120 --> 00:53:28,600
Speaker 3: mine from Detroit. I mean he lived out here, but

1183
00:53:28,800 --> 00:53:30,800
Speaker 3: I worked with him in Detroit and he brought me

1184
00:53:30,880 --> 00:53:32,880
Speaker 3: to the session. You know, Barry Waite wasn't paying me

1185
00:53:32,920 --> 00:53:35,640
Speaker 3: no attention. I wasn't on the session. And Barry White

1186
00:53:35,719 --> 00:53:38,760
Speaker 3: like to play his music back loud, neve console speakers

1187
00:53:38,800 --> 00:53:42,040
Speaker 3: all the way up. You know, stuff's whacking orkster jam

1188
00:53:42,120 --> 00:53:44,000
Speaker 3: and that stuff is going. And I had an idea

1189
00:53:44,080 --> 00:53:46,279
Speaker 3: for a tune, and you know, what did I have

1190
00:53:46,360 --> 00:53:47,800
Speaker 3: to lose? I was off coming from the truck. What

1191
00:53:47,840 --> 00:53:48,440
Speaker 3: do I care? You know?

1192
00:53:48,480 --> 00:53:50,200
Speaker 1: So I push stop on the tape recorder, you know,

1193
00:53:50,200 --> 00:53:52,359
Speaker 1: and all the music stop, you know, and he got

1194
00:53:52,480 --> 00:53:53,880
Speaker 1: rid of yourself. I did it?

1195
00:53:54,480 --> 00:53:57,680
Speaker 3: Oh lord, Barry session? And Barry White looked over, he says,

1196
00:53:58,840 --> 00:54:01,839
Speaker 3: he says, oh, yeah, it was nightment big. First of all,

1197
00:54:01,880 --> 00:54:06,399
Speaker 3: he says, what Frank, what happened? And then he looked

1198
00:54:06,440 --> 00:54:08,279
Speaker 3: around there to me in the corner. I said, excuse me,

1199
00:54:08,440 --> 00:54:11,400
Speaker 3: mister White, and it was got real quiet, and and

1200
00:54:11,480 --> 00:54:13,840
Speaker 3: he said he looked at somebody. He says, who? Then

1201
00:54:14,040 --> 00:54:16,360
Speaker 3: is that right? And then he looked at Gene Page,

1202
00:54:16,440 --> 00:54:19,719
Speaker 3: like you brought him here? And I said, excuse me,

1203
00:54:19,840 --> 00:54:22,480
Speaker 3: mister White, and that's a really nice song, but it's

1204
00:54:22,560 --> 00:54:25,600
Speaker 3: missing this guitar part. And he looked at me and

1205
00:54:26,000 --> 00:54:28,359
Speaker 3: before he could punch me or kick me out, he said, well,

1206
00:54:28,360 --> 00:54:30,200
Speaker 3: didn't get the funk in there and play it, you know.

1207
00:54:30,760 --> 00:54:31,360
Speaker 3: So I went in.

1208
00:54:33,120 --> 00:54:36,959
Speaker 1: Joe Jackson jack with you ask first, and I'm gonna

1209
00:54:36,960 --> 00:54:37,520
Speaker 1: start an empire.

1210
00:54:37,680 --> 00:54:45,360
Speaker 3: So the tensions rise, original tensions rise, right. So I

1211
00:54:45,480 --> 00:54:48,200
Speaker 3: go out there and uh, you know, I'm starting to

1212
00:54:48,239 --> 00:54:50,560
Speaker 3: play the part, and I think, like anybody else, you know,

1213
00:54:51,080 --> 00:54:53,160
Speaker 3: I hope he likes it, because I like, I know

1214
00:54:53,200 --> 00:54:54,800
Speaker 3: what I gotta do. So I hit this line. The

1215
00:54:54,880 --> 00:54:57,800
Speaker 3: line was dude, dude new that kind of thing, you know,

1216
00:54:58,360 --> 00:55:01,040
Speaker 3: And he loved it, and and so I said, okay,

1217
00:55:01,080 --> 00:55:02,920
Speaker 3: we'll roll the tape back. He says, fuck you keep

1218
00:55:02,960 --> 00:55:07,520
Speaker 3: playing it now. So the only thing that's missing on

1219
00:55:07,560 --> 00:55:09,200
Speaker 3: the record is fuck you keep playing now. But you

1220
00:55:09,320 --> 00:55:12,080
Speaker 3: hear me out for a bar, and I have two bars, right,

1221
00:55:12,200 --> 00:55:13,800
Speaker 3: and then he's liked keep playing. So I just started

1222
00:55:13,800 --> 00:55:15,560
Speaker 3: back up playing it. And he just left it like

1223
00:55:15,640 --> 00:55:17,279
Speaker 3: that because he didn't believe in fixing it. He just

1224
00:55:17,400 --> 00:55:20,120
Speaker 3: left it really yeah. On the record, it drops out

1225
00:55:20,160 --> 00:55:21,239
Speaker 3: for bar half way.

1226
00:55:21,280 --> 00:55:21,680
Speaker 1: He told me.

1227
00:55:23,280 --> 00:55:26,960
Speaker 3: The son is White Gold album, they mean Berry White.

1228
00:55:26,960 --> 00:55:28,839
Speaker 3: I'm not gonna say we were boys, but I thought

1229
00:55:28,880 --> 00:55:31,279
Speaker 3: we were boys, right, And you know, so his thing

1230
00:55:31,480 --> 00:55:33,400
Speaker 3: was he got all these riders down he said, nobody

1231
00:55:33,480 --> 00:55:35,239
Speaker 3: gets a song on bar White. No way, know how

1232
00:55:35,600 --> 00:55:37,400
Speaker 3: y'all right for these guys, right, for these guys, right

1233
00:55:37,440 --> 00:55:39,440
Speaker 3: for all that time, And so mine was determined to

1234
00:55:39,440 --> 00:55:41,920
Speaker 3: get a song on Berry White. So I got Gene

1235
00:55:41,960 --> 00:55:43,600
Speaker 3: Page to write out the charts, and I had the

1236
00:55:43,719 --> 00:55:46,160
Speaker 3: music demo tape cutting all the stuff. So I put

1237
00:55:46,239 --> 00:55:48,719
Speaker 3: Barry while I had a little Mercedes convertible by this time.

1238
00:55:48,800 --> 00:55:51,520
Speaker 3: This is later in seventy four, and Barry came out

1239
00:55:51,560 --> 00:55:53,080
Speaker 3: the street. I said, Barry, listen to this, and I

1240
00:55:53,120 --> 00:55:55,600
Speaker 3: pushed him in my car on by accident. I had

1241
00:55:55,600 --> 00:55:57,000
Speaker 3: the door open, you know, push him in, but I

1242
00:55:57,000 --> 00:56:00,440
Speaker 3: didn't know he's gonna cut himself, so damn the window.

1243
00:56:00,520 --> 00:56:02,360
Speaker 3: Because he was too big to get in. The Mercedes

1244
00:56:02,760 --> 00:56:04,520
Speaker 3: comes too big, you know. But he got in there,

1245
00:56:04,600 --> 00:56:06,000
Speaker 3: but he didn't want to acknowledge that he was too

1246
00:56:06,040 --> 00:56:07,800
Speaker 3: big to get in, so that worked in my favorite

1247
00:56:08,000 --> 00:56:09,680
Speaker 3: But anyway, I got to play on the track, you know.

1248
00:56:10,160 --> 00:56:12,120
Speaker 1: He said, yeah, right, that's nice. So what about it?

1249
00:56:12,360 --> 00:56:14,480
Speaker 3: I said, well, you need to cut the track. He said,

1250
00:56:14,520 --> 00:56:16,640
Speaker 3: he said, man, we do it. So we went back

1251
00:56:16,960 --> 00:56:18,960
Speaker 3: cut the rest of his stuff, you know, Da da

1252
00:56:19,040 --> 00:56:22,000
Speaker 3: Da and Barry White had a specific and he says,

1253
00:56:22,000 --> 00:56:25,120
Speaker 3: everybody's getting triple scale. I'm cutting eight songs today. I

1254
00:56:25,120 --> 00:56:27,080
Speaker 3: ain't paying y'all pen anymore. You can cut it in

1255
00:56:27,200 --> 00:56:28,520
Speaker 3: one hour, you can cut it in ten hours. I

1256
00:56:28,520 --> 00:56:30,560
Speaker 3: don't care what you do. But once we get these songs,

1257
00:56:30,760 --> 00:56:33,200
Speaker 3: sessions over. So this is one of those days. We

1258
00:56:33,320 --> 00:56:35,640
Speaker 3: were done already, right, we got like two or three

1259
00:56:35,680 --> 00:56:38,200
Speaker 3: hours left. Everybody want to go home, but they all

1260
00:56:38,280 --> 00:56:41,360
Speaker 3: my boys, David T. Walker, you know, Lee Ridding, Jay Graydon,

1261
00:56:41,600 --> 00:56:42,560
Speaker 3: Dean Parks.

1262
00:56:54,680 --> 00:56:56,480
Speaker 1: And Mary over in the corner.

1263
00:56:57,360 --> 00:56:59,840
Speaker 3: And to show you what kind of guy Jean Page was,

1264
00:57:00,040 --> 00:57:02,960
Speaker 3: I owe him way too much. He had already the

1265
00:57:03,040 --> 00:57:05,480
Speaker 3: night before written all the charts out for me for

1266
00:57:05,600 --> 00:57:08,560
Speaker 3: the whole band. Right, And so when we got done,

1267
00:57:08,719 --> 00:57:11,200
Speaker 3: I said, Barry Man, you remember a song. Please let

1268
00:57:11,239 --> 00:57:11,879
Speaker 3: me cut the song.

1269
00:57:11,960 --> 00:57:12,080
Speaker 1: Man.

1270
00:57:12,080 --> 00:57:14,239
Speaker 3: He says, Ray, we're done here, man going home. I said,

1271
00:57:14,360 --> 00:57:16,000
Speaker 3: why don't you do this? Why don't you go home?

1272
00:57:16,320 --> 00:57:19,160
Speaker 3: And I cut the track. He looked at me like

1273
00:57:19,360 --> 00:57:21,960
Speaker 3: that little snotty nosed kid. I mean, he's really pushing hisself,

1274
00:57:22,000 --> 00:57:24,120
Speaker 3: you know. And so he went home and I got

1275
00:57:24,240 --> 00:57:26,520
Speaker 3: Joe Sample and Wildon Felder, all the guys. You know,

1276
00:57:29,920 --> 00:57:33,600
Speaker 3: stay there to stay back with me and cut the track.

1277
00:57:33,680 --> 00:57:35,840
Speaker 3: So we cut the track in like twenty minutes, and

1278
00:57:35,920 --> 00:57:37,800
Speaker 3: I drove it up to Barry's house and he listened

1279
00:57:37,800 --> 00:57:41,240
Speaker 3: to what he says that's on the album. Wow, that's

1280
00:57:41,280 --> 00:57:43,120
Speaker 3: how I got to cut on the White Gold album,

1281
00:57:43,160 --> 00:57:45,480
Speaker 3: which did really well. Wait, what's the title of the

1282
00:57:45,600 --> 00:57:48,080
Speaker 3: song Always thinking of You? All right, let's go into

1283
00:57:48,160 --> 00:57:50,800
Speaker 3: always thinking of You? Written by Ray Parker Jr. For

1284
00:57:50,880 --> 00:57:54,640
Speaker 3: Barry White, White Gold, to Love and Limited Work, Sports

1285
00:57:54,720 --> 00:57:56,760
Speaker 3: Left Supreme Candor.

1286
00:57:58,200 --> 00:58:06,960
Speaker 1: That's Amazian reasons. Why why not always? Always? Flanker? Bill

1287
00:58:19,160 --> 00:58:24,560
Speaker 1: Hm who engineered this? Who? Frank Keshmar? Frank Keshmar? Who

1288
00:58:24,680 --> 00:58:26,640
Speaker 1: else was on the sessions? Well?

1289
00:58:26,680 --> 00:58:28,800
Speaker 3: On the Barry White sessions was Ed Green played the

1290
00:58:28,840 --> 00:58:31,320
Speaker 3: drums all right, all the time. Wilton Felder, who was

1291
00:58:31,360 --> 00:58:34,200
Speaker 3: a saxophone player for the jacks SAIDs played the bass,

1292
00:58:34,840 --> 00:58:36,520
Speaker 3: and for those who don't know, he also played on

1293
00:58:36,560 --> 00:58:38,280
Speaker 3: all the Jackson five hits too, and a whole bunch

1294
00:58:38,280 --> 00:58:40,440
Speaker 3: of other stuff. So when you hear ABC, that's Wilton

1295
00:58:40,440 --> 00:58:41,919
Speaker 3: Felder the sax player playing the bass.

1296
00:58:42,400 --> 00:58:43,520
Speaker 1: Really yeah, okay.

1297
00:58:43,760 --> 00:58:49,520
Speaker 3: Joe Sample played the keyboards. Gary Filman played the vibes,

1298
00:58:50,160 --> 00:58:53,200
Speaker 3: had the vibes and on guitar would would be myself.

1299
00:58:53,960 --> 00:58:59,280
Speaker 3: Wah wah, David T. Walker right, Dean Parks sometimes either

1300
00:58:59,360 --> 00:59:04,040
Speaker 3: Jay graydon or Lee written now time out Dean Parks. Yeah,

1301
00:59:04,320 --> 00:59:06,360
Speaker 3: the great theme Parks was my boy, Dean Parks. We

1302
00:59:06,440 --> 00:59:08,439
Speaker 3: played together many years on whole bunch of stuff. Yeah,

1303
00:59:09,040 --> 00:59:11,240
Speaker 3: what is Dean Parks doing in the Barry White session?

1304
00:59:11,440 --> 00:59:14,240
Speaker 1: It was on all the rare White sessions. No, just

1305
00:59:14,680 --> 00:59:17,400
Speaker 1: that's just I can't imagine Parks.

1306
00:59:17,560 --> 00:59:23,960
Speaker 3: Just when you the song you mentioned du Yeah, that's

1307
00:59:24,080 --> 00:59:26,680
Speaker 3: that's Jane Parks. I'm playing on there too, But but

1308
00:59:26,840 --> 00:59:29,560
Speaker 3: that's I think that's me, Dean and Lee and but

1309
00:59:29,640 --> 00:59:31,680
Speaker 3: we're playing one note to piece, but they're all sunk

1310
00:59:31,760 --> 00:59:34,040
Speaker 3: together because Barry wouldn't let you play the whole part.

1311
00:59:34,080 --> 00:59:37,840
Speaker 3: So we're playing one note to d and we're sliding

1312
00:59:37,880 --> 00:59:40,560
Speaker 3: it up and that's all three of us. That's overdubbing. No,

1313
00:59:41,160 --> 00:59:42,160
Speaker 3: he didn't like to overdub.

1314
00:59:42,600 --> 00:59:45,880
Speaker 1: So it's just normal to have four guitarists playing five.

1315
00:59:47,840 --> 00:59:48,000
Speaker 3: Four.

1316
00:59:48,080 --> 00:59:50,800
Speaker 1: Don't stop it for He just didn't want to overdub

1317
00:59:50,880 --> 00:59:51,960
Speaker 1: for monetary reasons.

1318
00:59:52,040 --> 00:59:53,800
Speaker 3: No, he just didn't like it. He mixed on the

1319
00:59:54,880 --> 00:59:56,760
Speaker 3: need console where all the faders are here in the

1320
00:59:56,840 --> 00:59:59,520
Speaker 3: monitor section here. Yeah, and he just he believed that

1321
00:59:59,560 --> 01:00:01,880
Speaker 3: he should to mix up here and if he didn't

1322
01:00:01,920 --> 01:00:04,080
Speaker 3: hear the echo on the drums, take the whole takeover.

1323
01:00:05,280 --> 01:00:07,360
Speaker 3: So he wanted everything to sound like a record right here.

1324
01:00:07,360 --> 01:00:08,960
Speaker 3: He says, forget all that, do it later. I want

1325
01:00:09,280 --> 01:00:11,120
Speaker 3: If I can't get it here, I ain't got no record,

1326
01:00:12,160 --> 01:00:14,040
Speaker 3: So it's up to the band, the engineered everybody else

1327
01:00:14,040 --> 01:00:16,760
Speaker 3: to give him his record on those fades. And all

1328
01:00:16,840 --> 01:00:18,160
Speaker 3: he wanted to do is play with the volumes on

1329
01:00:18,200 --> 01:00:19,680
Speaker 3: those fades. But if he couldn't get the snare, he

1330
01:00:19,720 --> 01:00:20,880
Speaker 3: couldn't get it cut over.

1331
01:00:21,200 --> 01:00:23,600
Speaker 1: So even mixing like, there's no like, okay, let's take

1332
01:00:23,600 --> 01:00:24,600
Speaker 1: a day out to mix and stuff.

1333
01:00:25,080 --> 01:00:27,000
Speaker 3: You already mixed it. It's already over there, so you're

1334
01:00:27,000 --> 01:00:28,560
Speaker 3: hearing it the way he wants to hear it. What

1335
01:00:28,720 --> 01:00:30,800
Speaker 3: happened afterwards? By this time I would have figured you

1336
01:00:30,880 --> 01:00:33,320
Speaker 3: guys had figured out my ego. Of course I want more.

1337
01:00:35,840 --> 01:00:38,480
Speaker 3: I want a song that Barry White sings and me

1338
01:00:38,520 --> 01:00:41,360
Speaker 3: and him do together. I went through something very similar

1339
01:00:42,200 --> 01:00:45,320
Speaker 3: at my apartment where I lived upstairs. Barry White's one

1340
01:00:45,360 --> 01:00:48,080
Speaker 3: of his manager. Guys lived there, so I figured out

1341
01:00:48,400 --> 01:00:50,360
Speaker 3: from the manager when Barry was just going to show

1342
01:00:50,440 --> 01:00:52,360
Speaker 3: up right, and I was going to pull the car

1343
01:00:52,520 --> 01:00:55,600
Speaker 3: real fast and play him this new cut ahead right.

1344
01:00:57,560 --> 01:01:02,520
Speaker 3: I know most people said you should quit while feeling.

1345
01:01:02,840 --> 01:01:05,560
Speaker 3: So here it comes. I see Barry White pulling up.

1346
01:01:05,680 --> 01:01:07,920
Speaker 3: I can't wait now I know where he's going. But

1347
01:01:08,000 --> 01:01:09,520
Speaker 3: I don't want him to get out of his car

1348
01:01:10,040 --> 01:01:11,760
Speaker 3: and go ring the buzz and go upstairs. I want

1349
01:01:11,800 --> 01:01:13,720
Speaker 3: to catch him while he's downstairs. So I see him

1350
01:01:13,760 --> 01:01:15,320
Speaker 3: come up the street because I've been waiting all this time.

1351
01:01:15,440 --> 01:01:16,760
Speaker 3: So as soon as I see him come to the street,

1352
01:01:16,760 --> 01:01:18,760
Speaker 3: I leave my parate, go downstairs, get in the car,

1353
01:01:19,040 --> 01:01:21,760
Speaker 3: and I pulled to the front. But when I pulled

1354
01:01:21,800 --> 01:01:24,000
Speaker 3: to the front out of the parking lot, it opens

1355
01:01:24,040 --> 01:01:27,000
Speaker 3: the gate. Barry White had parked his White Mark seven

1356
01:01:27,320 --> 01:01:29,360
Speaker 3: and the front of the gate illegally, but it was

1357
01:01:29,400 --> 01:01:31,560
Speaker 3: too close and I had already triggered it. When I

1358
01:01:31,600 --> 01:01:36,240
Speaker 3: saw it was too late, it lifted. The gate was rising.

1359
01:01:36,960 --> 01:01:38,880
Speaker 3: He had parked and was getting out. The gate lifted

1360
01:01:38,960 --> 01:01:42,160
Speaker 3: up the front of his car. The car was too

1361
01:01:42,280 --> 01:01:44,520
Speaker 3: heavy car went back on the gate. It ripped the

1362
01:01:44,560 --> 01:01:46,640
Speaker 3: gate off the thing and it fell on top of

1363
01:01:46,720 --> 01:01:51,040
Speaker 3: his Mark selling. So I wrecked his Mark seven.

1364
01:01:51,400 --> 01:01:51,680
Speaker 1: Wow.

1365
01:01:52,440 --> 01:01:56,000
Speaker 3: But I did get to play him the song. I

1366
01:01:56,160 --> 01:02:00,000
Speaker 3: saw that Reid it Miller, He says.

1367
01:01:59,840 --> 01:02:00,240
Speaker 1: Thanks three.

1368
01:02:00,280 --> 01:02:02,080
Speaker 3: I needed that, but it was his fault, he parking

1369
01:02:02,120 --> 01:02:05,280
Speaker 3: wrong space. But anyway, I did get him to listen

1370
01:02:05,320 --> 01:02:07,600
Speaker 3: to the song, and he did cut the song. And

1371
01:02:07,720 --> 01:02:09,240
Speaker 3: so I was one of the first people to ever

1372
01:02:09,280 --> 01:02:11,960
Speaker 3: get a song that I wrote with Barry White, maybe

1373
01:02:12,040 --> 01:02:14,280
Speaker 3: the only, and it's called you See the Trouble with Me,

1374
01:02:14,360 --> 01:02:17,040
Speaker 3: And we sold like seven or eight million records. And

1375
01:02:17,160 --> 01:02:19,760
Speaker 3: then a group called Black Legend redid it in two

1376
01:02:19,800 --> 01:02:21,920
Speaker 3: thousand and two or something and it went number one

1377
01:02:21,960 --> 01:02:24,440
Speaker 3: around the world again, so it's on all his greatest

1378
01:02:24,520 --> 01:02:27,000
Speaker 3: hits records. And I think he was just very kind

1379
01:02:27,080 --> 01:02:28,040
Speaker 3: to me to do it. First of all, he did

1380
01:02:28,160 --> 01:02:29,720
Speaker 3: was kind enough not to beat me up after I

1381
01:02:29,840 --> 01:02:31,880
Speaker 3: trashed his White Mark seven.

1382
01:02:32,000 --> 01:02:37,479
Speaker 1: You know. So he's a good dude. That's crazy, so okay,

1383
01:02:37,560 --> 01:02:40,320
Speaker 1: So eventually you quit while you're head, But we skipped

1384
01:02:40,560 --> 01:02:43,560
Speaker 1: Rufus and Shaka, How did you get tell Me something good?

1385
01:02:44,680 --> 01:02:45,520
Speaker 1: That's Stevie's song.

1386
01:02:45,680 --> 01:02:49,040
Speaker 3: He was Let's go, let's get some more drama now

1387
01:02:49,400 --> 01:02:53,080
Speaker 3: because you guys, I know you guys liked Okay, So

1388
01:02:53,600 --> 01:02:56,120
Speaker 3: I wrote the song for Barry White and Stevie. None

1389
01:02:56,160 --> 01:02:58,520
Speaker 3: of them will cut it. So next door to me

1390
01:02:58,640 --> 01:03:01,720
Speaker 3: is this girl Shaka Khan and Andre Fisher who I'm

1391
01:03:01,760 --> 01:03:04,360
Speaker 3: working with, And so me and Andre Fisher and David

1392
01:03:04,400 --> 01:03:08,000
Speaker 3: Foster doing sessions for thirty five bucks for Flat Top

1393
01:03:08,080 --> 01:03:11,520
Speaker 3: and Cookie at Ion Tina Turn Studio. That's how it's

1394
01:03:11,560 --> 01:03:14,120
Speaker 3: just starting out in seventy four. We're doing budget day,

1395
01:03:14,200 --> 01:03:16,720
Speaker 3: you know, we trying to make some money. David Foster, Yeah,

1396
01:03:16,720 --> 01:03:19,520
Speaker 3: well he won't then. He was like sixteen, No, she was,

1397
01:03:19,560 --> 01:03:22,000
Speaker 3: he was. He's older than me. He's about twenty three,

1398
01:03:22,120 --> 01:03:23,840
Speaker 3: twenty four. But I don't know if you know he

1399
01:03:23,920 --> 01:03:28,920
Speaker 3: wrote that song don't Cry, She's a lady sweet trying.

1400
01:03:29,920 --> 01:03:30,080
Speaker 1: Yeah.

1401
01:03:30,440 --> 01:03:32,680
Speaker 3: Watch that's how you got my respect you. David Foster

1402
01:03:32,760 --> 01:03:34,360
Speaker 3: wrote that. I was like, man, we used to play

1403
01:03:34,400 --> 01:03:35,760
Speaker 3: that when I was a kid in the band. Were

1404
01:03:35,800 --> 01:03:41,560
Speaker 3: talking about you wrote that, David Foster. Yeah, he wrote

1405
01:03:42,040 --> 01:03:42,439
Speaker 3: don't Crash.

1406
01:03:42,480 --> 01:03:42,880
Speaker 1: He's lated.

1407
01:03:42,960 --> 01:03:44,640
Speaker 3: Everybody used to play in their band, all the rest

1408
01:03:44,640 --> 01:03:47,080
Speaker 3: of stuff. Yeah, And so it was one of those

1409
01:03:47,160 --> 01:03:49,320
Speaker 3: things where nobody would cut the song so me and

1410
01:03:49,400 --> 01:03:51,240
Speaker 3: Andre we go in the studio and we lay it down.

1411
01:03:51,280 --> 01:03:52,760
Speaker 3: I played the guitars and the rest up. He says,

1412
01:03:52,800 --> 01:03:55,560
Speaker 3: his band of Roof is gonna cut. I'm like, unknown,

1413
01:03:55,600 --> 01:03:58,720
Speaker 3: whatever cutting my unknown band? So we cut the songs

1414
01:03:59,080 --> 01:04:01,360
Speaker 3: and sings on it and she's sing's really really I'm like,

1415
01:04:01,520 --> 01:04:02,240
Speaker 3: who's that singing?

1416
01:04:02,920 --> 01:04:02,960
Speaker 5: Is?

1417
01:04:03,240 --> 01:04:05,640
Speaker 3: This is gonna be something. I'm thinking, Oh man, it's

1418
01:04:05,640 --> 01:04:07,840
Speaker 3: gonna be hot. And then she tells me the story.

1419
01:04:07,880 --> 01:04:10,160
Speaker 3: She says, you don't even remember me. Huh, I said,

1420
01:04:10,200 --> 01:04:10,880
Speaker 3: what are you talking about?

1421
01:04:10,880 --> 01:04:11,360
Speaker 1: I remembered you.

1422
01:04:11,480 --> 01:04:13,880
Speaker 3: She says, well, you know when you back last year

1423
01:04:13,920 --> 01:04:15,920
Speaker 3: when you were playing with Stevie Wonder, me and my

1424
01:04:16,000 --> 01:04:18,680
Speaker 3: sister I gave you the tape to listen to. You

1425
01:04:18,800 --> 01:04:20,600
Speaker 3: gave me an address to your house to mail it

1426
01:04:20,640 --> 01:04:23,440
Speaker 3: to in San Francisco, she says, And you don't even

1427
01:04:23,480 --> 01:04:25,959
Speaker 3: live in San Francisco, and you were trying to bang

1428
01:04:26,080 --> 01:04:27,080
Speaker 3: me and you would you.

1429
01:04:29,000 --> 01:04:30,240
Speaker 6: So by then you discover women.

1430
01:04:30,480 --> 01:04:34,920
Speaker 3: And I was like, guilty, yil tea, yell tea. But

1431
01:04:35,040 --> 01:04:36,680
Speaker 3: you know, I said, you really sang it. But she

1432
01:04:36,760 --> 01:04:39,479
Speaker 3: was pregnant with the time. To make a long story short,

1433
01:04:40,040 --> 01:04:41,840
Speaker 3: the record was gonna be the first single called You

1434
01:04:41,960 --> 01:04:43,960
Speaker 3: Got the Love. I mean we were jamming and her

1435
01:04:44,040 --> 01:04:46,440
Speaker 3: sister be in Ta taka boom, Yeah, yeah, yeah, Okay,

1436
01:04:46,520 --> 01:04:48,480
Speaker 3: so here comes Sha Khan. She sang the heck out

1437
01:04:48,520 --> 01:04:51,120
Speaker 3: the song. I'm liking the song, but nobody knows who

1438
01:04:51,200 --> 01:04:54,160
Speaker 3: know rufus Is. They're invisible band. Nobody ever heard of it. Now,

1439
01:04:55,080 --> 01:04:58,200
Speaker 3: I just quit Stevie's band. So you know, Stevie's gotta

1440
01:04:58,240 --> 01:05:01,000
Speaker 3: teach me a lesson, right, I mean, because he's upset.

1441
01:05:01,200 --> 01:05:04,040
Speaker 3: Now I'm gonna ask you this question. How in the

1442
01:05:04,120 --> 01:05:06,600
Speaker 3: world does Stevie Wonder, who just won eight Grammys find

1443
01:05:06,880 --> 01:05:08,320
Speaker 3: if he's going to cut a song, why does he

1444
01:05:08,400 --> 01:05:10,640
Speaker 3: cut it on the most unknown singer on the planet

1445
01:05:11,120 --> 01:05:11,520
Speaker 3: because he.

1446
01:05:11,560 --> 01:05:12,400
Speaker 1: Found out that you were.

1447
01:05:12,960 --> 01:05:18,840
Speaker 3: I'm not saying that, I'm just saying, well, I'm just fine.

1448
01:05:19,520 --> 01:05:21,720
Speaker 3: I'm just telling you that, out of all the records

1449
01:05:21,760 --> 01:05:23,760
Speaker 3: on the planet Earth, somehow he ended up with a

1450
01:05:23,800 --> 01:05:25,000
Speaker 3: single in front of mine.

1451
01:05:25,280 --> 01:05:28,000
Speaker 6: Y'all must have had this conversation you got to.

1452
01:05:28,040 --> 01:05:30,440
Speaker 1: Love first, yes, and then where he got to Stevie.

1453
01:05:30,720 --> 01:05:32,919
Speaker 3: I'm just saying, out all the records in the world,

1454
01:05:33,000 --> 01:05:34,600
Speaker 3: he can have his choice of doing anybody on the

1455
01:05:34,640 --> 01:05:38,120
Speaker 3: planet hey, somehow he migrated all the way to mine,

1456
01:05:38,280 --> 01:05:40,680
Speaker 3: which was wonderful because tell me something good, open up.

1457
01:05:40,720 --> 01:05:42,560
Speaker 3: The album made it, and then my single came out

1458
01:05:42,560 --> 01:05:43,040
Speaker 3: and blew up.

1459
01:05:43,080 --> 01:05:46,000
Speaker 6: And did y'all ever have a conversation you Stevie?

1460
01:05:46,160 --> 01:05:48,439
Speaker 3: Well, whenever we have those conversations, it's like the Queen

1461
01:05:48,480 --> 01:05:48,920
Speaker 3: of England.

1462
01:05:49,040 --> 01:05:49,160
Speaker 4: You know.

1463
01:05:49,440 --> 01:05:50,280
Speaker 3: Did you see the movie?

1464
01:05:50,360 --> 01:05:55,200
Speaker 1: No? Okay, well I didn't see it either. I mean,

1465
01:05:55,960 --> 01:05:58,800
Speaker 1: it was an amicable parting. I assume it wasn't so

1466
01:05:58,960 --> 01:06:00,280
Speaker 1: bitter to the fact that, you know.

1467
01:06:00,640 --> 01:06:04,440
Speaker 3: We love each other, but we've had some interesting, you're

1468
01:06:04,480 --> 01:06:05,960
Speaker 3: not going to speak to each other for a long

1469
01:06:06,040 --> 01:06:08,920
Speaker 3: time sessions. Then he apologized, then we hugged and kiss it,

1470
01:06:09,160 --> 01:06:10,960
Speaker 3: and then you know, then I was nominated for an

1471
01:06:10,960 --> 01:06:14,680
Speaker 3: Oscar with him. He wouldn't speak to me again until

1472
01:06:15,000 --> 01:06:19,840
Speaker 3: until he won, kissed me and we were good again.

1473
01:06:19,920 --> 01:06:23,320
Speaker 3: You know what we nominated for with the Oscar because

1474
01:06:23,400 --> 01:06:28,200
Speaker 3: he was woman yeah and woman in red yeah.

1475
01:06:28,320 --> 01:06:28,760
Speaker 1: I just called.

1476
01:06:30,240 --> 01:06:33,480
Speaker 3: So I won the British Oscar and the fifty seven

1477
01:06:33,520 --> 01:06:35,720
Speaker 3: Oscars opened up with me performing what they spent like

1478
01:06:35,720 --> 01:06:37,360
Speaker 3: a half a minute, but they didn't ask him to perform,

1479
01:06:37,600 --> 01:06:39,800
Speaker 3: and I sat they sat me in back of him.

1480
01:06:39,800 --> 01:06:41,600
Speaker 3: I mean, I had my hands on Ned Prince was

1481
01:06:41,640 --> 01:06:44,160
Speaker 3: over here, had my hands on Stevie here, and you know,

1482
01:06:44,360 --> 01:06:48,640
Speaker 3: I mean he wasn't saying anything. Yeah, I had a

1483
01:06:48,760 --> 01:06:51,200
Speaker 3: funny suspicion that if I had won that Oscar, I

1484
01:06:51,240 --> 01:06:52,920
Speaker 3: think that would have been the end of the relationship.

1485
01:06:52,960 --> 01:06:54,880
Speaker 1: I think that was forgiving.

1486
01:06:55,040 --> 01:07:00,360
Speaker 3: Well, I think we'd be done, be done by this point.

1487
01:07:00,680 --> 01:07:04,280
Speaker 1: Do you have like personal aspirations of you're own the

1488
01:07:04,400 --> 01:07:06,880
Speaker 1: BV artists or you're just no, Like, what do you

1489
01:07:06,920 --> 01:07:09,800
Speaker 1: want to be? Do you want to be the consummate sidemen?

1490
01:07:09,960 --> 01:07:11,960
Speaker 1: Do you just want to songwrite and publishing is that

1491
01:07:12,080 --> 01:07:14,080
Speaker 1: where it is? Or do you want to be the star? Well,

1492
01:07:14,120 --> 01:07:17,760
Speaker 1: first I wanted to be the guitar player. Then I

1493
01:07:17,880 --> 01:07:20,120
Speaker 1: figured I might not make enough money doing that. And

1494
01:07:20,320 --> 01:07:23,200
Speaker 1: I really like nice things, so I thought, wow, And

1495
01:07:23,280 --> 01:07:25,160
Speaker 1: when I work with Stevie, I liked the songwriting and

1496
01:07:25,200 --> 01:07:25,840
Speaker 1: all that kind of thing.

1497
01:07:25,880 --> 01:07:28,640
Speaker 3: I said, why you write the song? That works us

1498
01:07:28,640 --> 01:07:31,760
Speaker 3: to write the songs. But it really wasn't until I

1499
01:07:31,920 --> 01:07:34,760
Speaker 3: took that Shaka Khan record home in the Very White,

1500
01:07:35,120 --> 01:07:37,880
Speaker 3: White Gold album to my mom and dad because they

1501
01:07:37,960 --> 01:07:39,480
Speaker 3: thought I was failing in California.

1502
01:07:39,560 --> 01:07:40,680
Speaker 1: I should move back home. You know.

1503
01:07:40,720 --> 01:07:43,400
Speaker 3: I lost my Lincolcondmal for this little small Mercedes that

1504
01:07:43,680 --> 01:07:45,400
Speaker 3: didn't have electric seats and stuff, you know.

1505
01:07:46,160 --> 01:07:46,880
Speaker 1: Barry then put it.

1506
01:07:47,240 --> 01:07:49,240
Speaker 3: They came out to my house, which I thought was cool.

1507
01:07:49,280 --> 01:07:52,080
Speaker 3: But my house was on top of a hill, swimming

1508
01:07:52,120 --> 01:07:53,640
Speaker 3: pool view of the city, and my dad looked at

1509
01:07:53,680 --> 01:07:55,440
Speaker 3: it said he couldn't afford the house on the bottom.

1510
01:07:55,480 --> 01:07:57,000
Speaker 3: With everybody else, they stuck their way up in the

1511
01:07:57,040 --> 01:07:58,840
Speaker 3: middle of nowhere. We had to go down this windy

1512
01:07:58,960 --> 01:08:01,439
Speaker 3: road and his house wasn't even made out of bricks.

1513
01:08:01,480 --> 01:08:04,520
Speaker 3: He's had some stuck old you know, bluod built house

1514
01:08:04,560 --> 01:08:07,920
Speaker 3: they put together. So they were really they were depressed,

1515
01:08:08,040 --> 01:08:10,880
Speaker 3: and they thought I wasn't doing so well. Then I

1516
01:08:10,960 --> 01:08:13,200
Speaker 3: brought the record home to my mom, and it was

1517
01:08:13,240 --> 01:08:15,120
Speaker 3: really my mom that gave me the rude awakening.

1518
01:08:15,160 --> 01:08:15,320
Speaker 4: You know.

1519
01:08:15,400 --> 01:08:17,639
Speaker 3: My mom said, uh, you know, I said, hey, Mom,

1520
01:08:18,040 --> 01:08:20,120
Speaker 3: I got this big hit on Shaka Con I mean

1521
01:08:20,160 --> 01:08:20,880
Speaker 3: on Rufous.

1522
01:08:20,960 --> 01:08:21,080
Speaker 5: You know.

1523
01:08:21,439 --> 01:08:23,519
Speaker 3: She was what's a Rufous? I said, that's the name

1524
01:08:23,600 --> 01:08:25,559
Speaker 3: of the band. I guess she thought it was my band.

1525
01:08:25,600 --> 01:08:27,760
Speaker 3: I don't know what she thought, but so I gave

1526
01:08:27,800 --> 01:08:29,560
Speaker 3: my mom the record, and she took the record and

1527
01:08:29,680 --> 01:08:32,679
Speaker 3: she looked at it, look at the front, she saw people.

1528
01:08:32,800 --> 01:08:36,120
Speaker 3: She said, I don't see you right now. You gotta understand,

1529
01:08:36,120 --> 01:08:38,320
Speaker 3: I'm going home with an ego I like making I'm Hollywood.

1530
01:08:38,320 --> 01:08:40,400
Speaker 3: I thought the Bear song, ary white song.

1531
01:08:40,840 --> 01:08:40,960
Speaker 1: You know.

1532
01:08:41,040 --> 01:08:43,720
Speaker 3: She says, I don't see you. Then she took the

1533
01:08:43,840 --> 01:08:45,400
Speaker 3: very white wricks. She looked at it. I don't see you.

1534
01:08:45,600 --> 01:08:47,760
Speaker 3: I said, that's because ma I wrote the song. Now

1535
01:08:47,760 --> 01:08:50,800
Speaker 3: I'm still feeling high and mighty and justified. So she

1536
01:08:50,880 --> 01:08:53,439
Speaker 3: pulled out the record and I'll never forget ABC Dunhill

1537
01:08:53,439 --> 01:08:55,920
Speaker 3: at the time had a black label and they write,

1538
01:08:55,920 --> 01:08:58,519
Speaker 3: your name is silver and I said, see. Mom says

1539
01:08:58,600 --> 01:09:01,360
Speaker 3: right there, Ray Parkage, you know me. And she looked

1540
01:09:01,400 --> 01:09:03,760
Speaker 3: at it. Now, my mother's in her late sixty a time,

1541
01:09:04,000 --> 01:09:08,719
Speaker 3: and she was like, boy, go get my magnifying glass.

1542
01:09:11,439 --> 01:09:12,200
Speaker 1: I know she wasn't.

1543
01:09:12,800 --> 01:09:15,160
Speaker 3: So she gets her magnifying glass and she holds it

1544
01:09:15,240 --> 01:09:18,360
Speaker 3: back and she's doing like that and it says our

1545
01:09:18,640 --> 01:09:21,120
Speaker 3: period Parker, and I'll never forget these words.

1546
01:09:21,160 --> 01:09:21,920
Speaker 1: This is where I got it.

1547
01:09:22,240 --> 01:09:22,400
Speaker 5: You know.

1548
01:09:22,520 --> 01:09:26,120
Speaker 3: Sometimes simplicity, like you said, simplicity of a song, simplicit

1549
01:09:26,160 --> 01:09:28,960
Speaker 3: simplicity is better. She said to me, She says, is

1550
01:09:29,040 --> 01:09:32,400
Speaker 3: that you are Period Parker. I said, yeah, that's me, mister.

1551
01:09:32,760 --> 01:09:34,640
Speaker 3: She said the Period took one space. Couldn't they just

1552
01:09:34,680 --> 01:09:42,519
Speaker 3: give you another space? And uh, you know, so when

1553
01:09:42,560 --> 01:09:45,200
Speaker 3: I left home with a lot smaller head than when

1554
01:09:45,240 --> 01:09:47,640
Speaker 3: I got there, you know, I figured, I said, you know,

1555
01:09:47,760 --> 01:09:50,240
Speaker 3: I'm not coming back till I get a record. I

1556
01:09:50,280 --> 01:09:51,679
Speaker 3: gotta get my face on the record.

1557
01:09:51,800 --> 01:09:52,200
Speaker 1: That's just it.

1558
01:09:52,360 --> 01:09:54,720
Speaker 3: My mama does not understand what it is I'm doing.

1559
01:09:54,920 --> 01:09:57,000
Speaker 3: I couldn't even explain to my mom what I did,

1560
01:09:57,720 --> 01:09:59,880
Speaker 3: and my mom couldn't even see me. My name was

1561
01:10:00,000 --> 01:10:01,840
Speaker 3: so small. I didn't like the way it felt.

1562
01:10:02,120 --> 01:10:05,360
Speaker 1: By this point, you were also on the silver screen

1563
01:10:05,439 --> 01:10:08,600
Speaker 1: correct a little bit and Saturday Night.

1564
01:10:09,600 --> 01:10:13,200
Speaker 3: Yeah that's too brief. Well, I mean it was still like,

1565
01:10:13,280 --> 01:10:15,559
Speaker 3: you know, yeah, that's too brief, mama blink.

1566
01:10:15,960 --> 01:10:16,120
Speaker 1: Yeah.

1567
01:10:18,240 --> 01:10:20,120
Speaker 4: Did you explain to your mama that the little name

1568
01:10:20,160 --> 01:10:21,560
Speaker 4: on the back of the album makes a lot of

1569
01:10:21,600 --> 01:10:23,280
Speaker 4: time more money than the big face on.

1570
01:10:23,320 --> 01:10:28,400
Speaker 3: The cover, You know what. I could have explained it,

1571
01:10:28,520 --> 01:10:31,880
Speaker 3: but money wasn't the issue. The issue is my mam

1572
01:10:32,000 --> 01:10:33,360
Speaker 3: was sitting there like she didn't even know what I

1573
01:10:33,479 --> 01:10:35,720
Speaker 3: was doing. She's sitting there like you know, I'm coming

1574
01:10:35,760 --> 01:10:36,240
Speaker 3: home tomorrow.

1575
01:10:36,240 --> 01:10:36,680
Speaker 1: I got it.

1576
01:10:36,800 --> 01:10:39,479
Speaker 3: I want, I want you like what you know? It's

1577
01:10:39,560 --> 01:10:41,600
Speaker 3: like what I don't see nothing, you know? So that

1578
01:10:41,800 --> 01:10:43,560
Speaker 3: that struck a quarter message. I'm going to cut. I

1579
01:10:43,640 --> 01:10:45,760
Speaker 3: gotta cut something that my mama can see me on

1580
01:10:45,880 --> 01:10:47,519
Speaker 3: the cover. That's just the way it's got to be.

1581
01:10:47,640 --> 01:10:49,839
Speaker 3: You know, this is a question Love Supreme wor and Pandora.

1582
01:10:50,320 --> 01:10:52,599
Speaker 1: If you're just joining us, we're almost through hour two

1583
01:10:52,640 --> 01:10:55,519
Speaker 1: of our conversation with our guest, Ray Parker Jr. We

1584
01:10:55,720 --> 01:10:58,559
Speaker 1: learned about his work with Stevie Wonder, Barry White, Chaka Khan,

1585
01:10:58,680 --> 01:11:01,840
Speaker 1: and we're digging deeper and to his attempts after years

1586
01:11:01,880 --> 01:11:04,000
Speaker 1: of working in the music business to prove to his

1587
01:11:04,160 --> 01:11:07,400
Speaker 1: parents that he was a success. I guess my question

1588
01:11:07,640 --> 01:11:12,040
Speaker 1: is who did you fish for to get a record deal?

1589
01:11:13,120 --> 01:11:15,360
Speaker 1: I want nobody. Okay, well, okay, this is what I

1590
01:11:15,400 --> 01:11:18,639
Speaker 1: want to know. I want you to describe Clive Davis.

1591
01:11:18,920 --> 01:11:21,160
Speaker 3: Now, we got to lead in the class. Okay, gotta

1592
01:11:21,240 --> 01:11:22,559
Speaker 3: let me lead in the client days and I'm going

1593
01:11:22,600 --> 01:11:24,840
Speaker 3: to try and make it as brief as possible as

1594
01:11:24,880 --> 01:11:30,080
Speaker 3: long as Okay, after that, you got to love very

1595
01:11:30,160 --> 01:11:33,040
Speaker 3: white all that kind of segment. I got a singles

1596
01:11:33,120 --> 01:11:36,680
Speaker 3: deal with A and M Records to do this girl

1597
01:11:36,720 --> 01:11:40,400
Speaker 3: Anita Sherman, which she sang one song and the secretary

1598
01:11:40,479 --> 01:11:42,240
Speaker 3: at the studio said a few words to me. She

1599
01:11:42,360 --> 01:11:44,360
Speaker 3: burst out in tears. I had four hours of studio

1600
01:11:44,439 --> 01:11:45,960
Speaker 3: time left, and I had to sing the song myself

1601
01:11:46,000 --> 01:11:49,840
Speaker 3: because she was crying. She blew my entire record deal.

1602
01:11:50,040 --> 01:11:52,599
Speaker 3: And when I went to the A and M lot,

1603
01:11:53,400 --> 01:11:56,360
Speaker 3: at the corner of my eye looked like in the

1604
01:11:56,400 --> 01:11:58,880
Speaker 3: next building over there was Quincy Jones standing there, and

1605
01:11:58,960 --> 01:11:59,320
Speaker 3: I was like.

1606
01:11:59,400 --> 01:11:59,960
Speaker 1: Quincy Jones.

1607
01:12:00,080 --> 01:12:02,880
Speaker 3: Oh my godness, Quincy Jones standing over there. I mean

1608
01:12:02,960 --> 01:12:04,920
Speaker 3: Quincy Jones. I didn't know what to do with myself

1609
01:12:04,920 --> 01:12:06,439
Speaker 3: because we played Killer Joe in the band when I

1610
01:12:06,520 --> 01:12:09,200
Speaker 3: was a kid with Bohannan and all the stuff. So

1611
01:12:09,320 --> 01:12:11,200
Speaker 3: I gotta I gotta go meet Quincy. I gotta go

1612
01:12:11,240 --> 01:12:13,080
Speaker 3: say something to Quincy Jones. So I just got this

1613
01:12:13,200 --> 01:12:15,760
Speaker 3: record on A and M. My egos. I had plenty

1614
01:12:15,760 --> 01:12:17,640
Speaker 3: of ego at the time, maybe a bit much. So

1615
01:12:17,680 --> 01:12:19,519
Speaker 3: I went over to Quincy Jones and I said, Hi,

1616
01:12:19,680 --> 01:12:21,160
Speaker 3: you don't know me, but I'm the guy who's gonna

1617
01:12:21,160 --> 01:12:30,960
Speaker 3: teach you how to produce hit records. I'm the guy

1618
01:12:30,960 --> 01:12:32,720
Speaker 3: who's gonna teach you how to produce hit records. Well,

1619
01:12:33,040 --> 01:12:35,280
Speaker 3: to make a long story short, a couple of months later,

1620
01:12:35,320 --> 01:12:37,360
Speaker 3: the Brothers Johnson came out. He was number one on

1621
01:12:37,439 --> 01:12:40,000
Speaker 3: the pop charts and IRV charts, and they had sent

1622
01:12:40,040 --> 01:12:41,800
Speaker 3: me to Bernie Grummings, which happened to be in the

1623
01:12:41,880 --> 01:12:43,559
Speaker 3: back of the an M lot to get the box

1624
01:12:43,640 --> 01:12:47,080
Speaker 3: of records, the only ones in existence besides the radio

1625
01:12:47,200 --> 01:12:49,840
Speaker 3: and the swamp radio in Florida that played my record.

1626
01:12:50,680 --> 01:12:54,680
Speaker 3: And as I was being escorted off the lot, the

1627
01:12:54,840 --> 01:12:56,880
Speaker 3: one thing that that was good for when I said

1628
01:12:56,920 --> 01:12:59,880
Speaker 3: that's Quincy Jones saw me like this with my records

1629
01:13:00,120 --> 01:13:01,400
Speaker 3: going off to the lot. And now, by the way,

1630
01:13:02,120 --> 01:13:05,160
Speaker 3: by the time I got to Bernie Grumman's thing, and

1631
01:13:05,520 --> 01:13:09,000
Speaker 3: they had already told me I was fired. Okay, so

1632
01:13:09,520 --> 01:13:11,280
Speaker 3: I'm doing a really good job at this. I'm trying

1633
01:13:11,320 --> 01:13:14,120
Speaker 3: to get to Bernie Grummans, get the records and get

1634
01:13:14,160 --> 01:13:17,000
Speaker 3: to my car, and my Adams Apples all choked up.

1635
01:13:17,040 --> 01:13:19,080
Speaker 3: I mean, I'm about to cry. I mean, I'm holding

1636
01:13:19,200 --> 01:13:23,400
Speaker 3: all this in, but my Adam Appers is hurting right here,

1637
01:13:23,560 --> 01:13:26,280
Speaker 3: choked up. So much, you know, a little kid. So

1638
01:13:26,400 --> 01:13:28,080
Speaker 3: I mean, so I'm just trying all I want to

1639
01:13:28,120 --> 01:13:30,280
Speaker 3: do to get my records and make it. And I

1640
01:13:30,400 --> 01:13:32,120
Speaker 3: was almost to the gate where they let you in

1641
01:13:32,200 --> 01:13:33,800
Speaker 3: and out, and I was getting ready because my cars

1642
01:13:33,840 --> 01:13:35,439
Speaker 3: parked out, so I can't get on a lot no more.

1643
01:13:35,560 --> 01:13:38,200
Speaker 3: So I was about to leave, and then somebody said, hey,

1644
01:13:38,280 --> 01:13:47,479
Speaker 3: young man, I'm waiting on my production lessons. Hey, all

1645
01:13:47,520 --> 01:13:49,960
Speaker 3: I can say is I look like Linus with the towel.

1646
01:13:50,040 --> 01:13:55,240
Speaker 3: And he felt so bad he immediately stopped whoever he

1647
01:13:55,360 --> 01:13:57,639
Speaker 3: may have been talking to her about before, but he left.

1648
01:13:57,680 --> 01:14:00,840
Speaker 3: Those guys immediately came over to me, put his arms

1649
01:14:00,840 --> 01:14:03,360
Speaker 3: around me and says, now, now, son, I didn't mean that.

1650
01:14:07,000 --> 01:14:09,000
Speaker 3: He said, it ain't that bad. And he says, he says,

1651
01:14:09,040 --> 01:14:11,240
Speaker 3: I don't know who you are. He was just joking

1652
01:14:11,280 --> 01:14:13,160
Speaker 3: with me because he had a hit and me getting

1653
01:14:13,200 --> 01:14:14,720
Speaker 3: kicked off late. But he did not take it that bad.

1654
01:14:14,920 --> 01:14:18,200
Speaker 3: He says, I don't know who you are, but you

1655
01:14:18,280 --> 01:14:20,880
Speaker 3: know you're obviously doing something right, or else you wouldn't

1656
01:14:20,880 --> 01:14:23,559
Speaker 3: be on this lot. That's what he said. And he says,

1657
01:14:23,600 --> 01:14:25,280
Speaker 3: what you need to do now is just pick yourself

1658
01:14:25,360 --> 01:14:27,800
Speaker 3: back up and get back in the game and do

1659
01:14:27,920 --> 01:14:30,080
Speaker 3: it fast. He says, don't take all day. He says,

1660
01:14:30,160 --> 01:14:32,200
Speaker 3: get back in it and do it quickly.

1661
01:14:31,960 --> 01:14:32,120
Speaker 4: You know.

1662
01:14:32,720 --> 01:14:35,160
Speaker 3: And then I left that lot, went to HB. Barnham

1663
01:14:35,240 --> 01:14:37,519
Speaker 3: and Wildwa at the studio where they gave me another

1664
01:14:37,680 --> 01:14:39,160
Speaker 3: ragging on and made me cry again.

1665
01:14:39,240 --> 01:14:39,400
Speaker 2: You know.

1666
01:14:39,520 --> 01:14:41,680
Speaker 1: So it's a bad day for it. So at the time,

1667
01:14:41,840 --> 01:14:45,200
Speaker 1: was herb Albert and Jerry Marsh were they name only

1668
01:14:45,600 --> 01:14:49,479
Speaker 1: executives in those days they were running it. So what

1669
01:14:49,600 --> 01:14:52,120
Speaker 1: do you think it was like? They just didn't see

1670
01:14:52,560 --> 01:14:53,320
Speaker 1: I didn't have a hit.

1671
01:14:53,520 --> 01:14:54,760
Speaker 3: Yeah, I was get off the lot, you don't have

1672
01:14:54,800 --> 01:14:57,760
Speaker 3: a hit, Get out here, get fired. Hey, And the

1673
01:14:57,840 --> 01:15:00,320
Speaker 3: guy A and M told me, he said, mister Parker.

1674
01:15:00,439 --> 01:15:02,439
Speaker 3: And I only sang because the girls started crying. She

1675
01:15:02,520 --> 01:15:05,200
Speaker 3: messed up my record deal. I'm like everybody else, I'm

1676
01:15:05,200 --> 01:15:06,240
Speaker 3: blaming on somebody else.

1677
01:15:07,120 --> 01:15:07,640
Speaker 1: It wasn't me.

1678
01:15:08,560 --> 01:15:10,920
Speaker 3: But she didn't sing the song. She started crying when

1679
01:15:10,920 --> 01:15:12,519
Speaker 3: the other girl was hitting on me, you know. And

1680
01:15:12,600 --> 01:15:15,160
Speaker 3: I was like, oh no, no, she didn't even sing anything.

1681
01:15:15,240 --> 01:15:17,120
Speaker 3: Come on, you know, in those days you only had

1682
01:15:17,240 --> 01:15:18,880
Speaker 3: X amount of hours for studio time. They let you

1683
01:15:18,920 --> 01:15:20,920
Speaker 3: in the studio for six hours, six hours you've done.

1684
01:15:21,160 --> 01:15:22,320
Speaker 3: So I had to sing the song and the guy

1685
01:15:22,360 --> 01:15:24,000
Speaker 3: looked at me. Kipt Comb was his name. I'll never

1686
01:15:24,000 --> 01:15:25,880
Speaker 3: forget his name. He says, mister Parker, you do a

1687
01:15:25,920 --> 01:15:28,240
Speaker 3: lot of things, right, guitar. We like what you write,

1688
01:15:28,439 --> 01:15:29,640
Speaker 3: they said, he said, but you got to let this

1689
01:15:29,760 --> 01:15:31,840
Speaker 3: singing thing go. This. You ain't gonna be no star. This,

1690
01:15:31,920 --> 01:15:33,679
Speaker 3: ain't you. He says, that ain't gonna happen.

1691
01:15:33,760 --> 01:15:33,880
Speaker 1: You know.

1692
01:15:34,600 --> 01:15:38,120
Speaker 3: He says, that ain't gonna happen, and the famous last words.

1693
01:15:38,520 --> 01:15:40,639
Speaker 3: So now we're going to get we're leading into Clive

1694
01:15:40,720 --> 01:15:43,439
Speaker 3: and all that stuff. So hold on, here we go. No,

1695
01:15:43,560 --> 01:15:45,519
Speaker 3: that's between it. That's what leads me to climb. So

1696
01:15:46,160 --> 01:15:48,200
Speaker 3: then I'm working with Richard Perry all the time, doing

1697
01:15:49,040 --> 01:15:51,639
Speaker 3: a bunch of sessions. He's paying me triple scale. He's

1698
01:15:51,680 --> 01:15:55,160
Speaker 3: got a studio at the Paramount Lot with Paramount Universal Lot,

1699
01:15:55,600 --> 01:15:58,320
Speaker 3: and so he had my name on the concrete, says

1700
01:15:58,400 --> 01:16:01,519
Speaker 3: Ray Parker Junior. Whereever I I pull on Paaramount Lot

1701
01:16:01,600 --> 01:16:03,280
Speaker 3: park right there in the Rape Parker Junior space.

1702
01:16:03,320 --> 01:16:03,920
Speaker 1: We were boys.

1703
01:16:04,000 --> 01:16:07,360
Speaker 3: Man, we're cutting Barbara Streis saying, Karl Simon Lil say,

1704
01:16:07,360 --> 01:16:08,360
Speaker 3: I mean everybody whatever.

1705
01:16:08,439 --> 01:16:09,680
Speaker 1: He did, I was. I was just got.

1706
01:16:10,320 --> 01:16:12,760
Speaker 3: He had Dave the juice man come every day. They

1707
01:16:12,840 --> 01:16:16,200
Speaker 3: bring him cocaine and weed, and they bring me watermelon juice.

1708
01:16:15,960 --> 01:16:16,320
Speaker 1: You know what I mean.

1709
01:16:17,320 --> 01:16:21,120
Speaker 3: Just I was like, eventually he's juice, right, like watermelon

1710
01:16:21,240 --> 01:16:24,160
Speaker 3: juice for Rekular. And so in those days, we didn't

1711
01:16:24,200 --> 01:16:26,640
Speaker 3: have like tape recorders and stuff like you have now

1712
01:16:26,680 --> 01:16:28,599
Speaker 3: with your iPhone. So I had a song that I'd

1713
01:16:28,600 --> 01:16:31,080
Speaker 3: written at home with the little click drum machine, and

1714
01:16:31,080 --> 01:16:33,960
Speaker 3: I'm beating on the thing on my Maestro rhythmace and

1715
01:16:34,080 --> 01:16:35,479
Speaker 3: I just wanted to see what it sounds like. So

1716
01:16:35,520 --> 01:16:37,519
Speaker 3: I told y Green, you play this, John Barnes, you

1717
01:16:37,600 --> 01:16:39,840
Speaker 3: play this. And so we all played our parts and

1718
01:16:39,880 --> 01:16:42,120
Speaker 3: then Richard comes in to lunch break and says, man,

1719
01:16:42,160 --> 01:16:42,679
Speaker 3: that's jamming.

1720
01:16:42,720 --> 01:16:43,040
Speaker 1: What is that?

1721
01:16:43,320 --> 01:16:44,920
Speaker 3: I said, well, that's the song. I wrote it home,

1722
01:16:45,280 --> 01:16:47,400
Speaker 3: you know. But we're just on lunch break. He says, well,

1723
01:16:47,439 --> 01:16:49,519
Speaker 3: can we cut that on leos heir And I said, well,

1724
01:16:49,560 --> 01:16:51,640
Speaker 3: I don't know. Yeah, he says, but but I mean

1725
01:16:51,640 --> 01:16:53,360
Speaker 3: I got to get my party song. So he promises

1726
01:16:53,439 --> 01:16:54,960
Speaker 3: me my part of the song. It's not like it's

1727
01:16:55,120 --> 01:16:57,720
Speaker 3: a mystery issue. I didn't know that I wasn't get

1728
01:16:57,800 --> 01:16:59,360
Speaker 3: my part of the song til the record came out.

1729
01:17:00,120 --> 01:17:02,479
Speaker 3: So the record comes out, it's jamming, and I don't

1730
01:17:02,520 --> 01:17:04,799
Speaker 3: see my name on anywhere. I stand in Tower Records

1731
01:17:04,840 --> 01:17:07,240
Speaker 3: for two hours trying to find my name on a

1732
01:17:07,320 --> 01:17:09,360
Speaker 3: forty five. If you can imagine that. I just knew

1733
01:17:09,400 --> 01:17:10,880
Speaker 3: it was going to appear. But I'm there for two

1734
01:17:10,920 --> 01:17:14,000
Speaker 3: hours and the lady there was a security guard comes

1735
01:17:14,040 --> 01:17:16,680
Speaker 3: down to me who ended up being burned at the

1736
01:17:17,200 --> 01:17:18,080
Speaker 3: meeting in the lady's room.

1737
01:17:18,120 --> 01:17:21,160
Speaker 1: Girl, you know climax.

1738
01:17:21,360 --> 01:17:23,280
Speaker 3: Yeah, Bernie at Cooper was the security guy.

1739
01:17:23,360 --> 01:17:27,400
Speaker 6: Because I'm not in the move, she was a security guard.

1740
01:17:27,479 --> 01:17:29,120
Speaker 3: She's about to rest me. She said, you're gonna buy

1741
01:17:29,200 --> 01:17:29,840
Speaker 3: this record or what?

1742
01:17:30,000 --> 01:17:30,160
Speaker 1: You know?

1743
01:17:31,000 --> 01:17:33,400
Speaker 3: I'm telling her, I'm about to start crying again. There

1744
01:17:33,479 --> 01:17:36,680
Speaker 3: was a lot of crying for a big dude, So

1745
01:17:36,720 --> 01:17:38,200
Speaker 3: I'm about to start crying again. She said, you know,

1746
01:17:38,320 --> 01:17:38,880
Speaker 3: buy this record.

1747
01:17:39,000 --> 01:17:39,040
Speaker 5: What?

1748
01:17:39,160 --> 01:17:40,400
Speaker 3: Then she finds, are you rape Parker?

1749
01:17:40,600 --> 01:17:40,960
Speaker 1: What you're doing?

1750
01:17:41,240 --> 01:17:43,320
Speaker 3: She knew me from being a guitar player. She says, well,

1751
01:17:43,320 --> 01:17:44,960
Speaker 3: you got to listen to my music. I'm like, I'm

1752
01:17:45,000 --> 01:17:46,639
Speaker 3: not listening to anything right now. I'm trying to figure

1753
01:17:46,680 --> 01:17:48,960
Speaker 3: out what happened to my song, you know. And so

1754
01:17:50,080 --> 01:17:51,920
Speaker 3: I had given him two songs. I given him that

1755
01:17:52,040 --> 01:17:56,840
Speaker 3: one and Jack and Jail right. And so Carol Childs,

1756
01:17:56,840 --> 01:17:59,680
Speaker 3: who is his head of his publishing company, felt so

1757
01:17:59,800 --> 01:18:01,840
Speaker 3: bad because she kept saying with Rickard, that's a mistake.

1758
01:18:01,880 --> 01:18:04,680
Speaker 3: Richard's gonna make it right. And Richard also told me

1759
01:18:04,760 --> 01:18:07,160
Speaker 3: that he's gonna do a whole album on you. I like,

1760
01:18:07,400 --> 01:18:09,680
Speaker 3: you know, I like that, feed them, feed them, feed him,

1761
01:18:09,720 --> 01:18:12,960
Speaker 3: just postpone, postpone promise from the world. He says, you're

1762
01:18:13,000 --> 01:18:14,960
Speaker 3: gonna be Barbra Streis. He's gonna cut a whole album

1763
01:18:15,000 --> 01:18:16,800
Speaker 3: on you, and I'll be by Richard Pierre and you'll

1764
01:18:16,800 --> 01:18:19,120
Speaker 3: be on Warner Brothers. And that's be the end of that, Okay. Well,

1765
01:18:19,160 --> 01:18:21,320
Speaker 3: then the contract came. It was like everything for him,

1766
01:18:21,400 --> 01:18:23,599
Speaker 3: nothing for me, you know. And I was broken hearted

1767
01:18:23,600 --> 01:18:24,160
Speaker 3: because I'm.

1768
01:18:24,040 --> 01:18:24,960
Speaker 1: Like, how could you do this?

1769
01:18:25,040 --> 01:18:26,920
Speaker 3: I thought we've been working together on records. I've been

1770
01:18:26,960 --> 01:18:29,439
Speaker 3: helping you out give him more ideas than maybe I should.

1771
01:18:29,840 --> 01:18:31,559
Speaker 3: And he promised me a piece of the song. Wasn't

1772
01:18:31,560 --> 01:18:32,760
Speaker 3: like he had to give me all the song, just

1773
01:18:32,880 --> 01:18:34,759
Speaker 3: give me my share of the song. So he didn't

1774
01:18:34,800 --> 01:18:37,880
Speaker 3: do that, and Carol felt so bad. Carol chiunds is.

1775
01:18:37,920 --> 01:18:40,360
Speaker 3: Her name at the time was Carol Pinkins. She felt

1776
01:18:40,439 --> 01:18:43,960
Speaker 3: so bad about it that she took the song to

1777
01:18:44,160 --> 01:18:46,840
Speaker 3: Roger Burnbaum, who when I was at a and m

1778
01:18:47,000 --> 01:18:49,320
Speaker 3: used to go get the hot dogs. Right now, he

1779
01:18:49,400 --> 01:18:51,599
Speaker 3: owns the whole planet, you know, But at the time

1780
01:18:51,720 --> 01:18:53,679
Speaker 3: Roger Burnbaum was the guy who got and got pizzas

1781
01:18:53,680 --> 01:18:55,920
Speaker 3: and stuff for us when we had to meet and Rody, yeah,

1782
01:18:56,080 --> 01:18:58,400
Speaker 3: but I always treated him nice. Now he's the vice

1783
01:18:58,479 --> 01:19:00,880
Speaker 3: president of the Arista. So he played If clivee Clyde

1784
01:19:00,880 --> 01:19:03,160
Speaker 3: falls in love with Jack and Jill, Clive calls up,

1785
01:19:03,160 --> 01:19:04,840
Speaker 3: I don't want to talk to any more white people

1786
01:19:04,920 --> 01:19:07,519
Speaker 3: in a suit and time just don't you know what

1787
01:19:07,520 --> 01:19:09,920
Speaker 3: I mean? So I won't even meet with Clive. So

1788
01:19:10,080 --> 01:19:12,040
Speaker 3: this goes on for a month or so. Then Clive

1789
01:19:12,160 --> 01:19:14,439
Speaker 3: is very clever guy. He calls back and he says,

1790
01:19:15,280 --> 01:19:17,280
Speaker 3: you're a respectable guy in the music business. I'm a

1791
01:19:17,320 --> 01:19:19,559
Speaker 3: respectable guy in the music business. Let's say we don't

1792
01:19:19,600 --> 01:19:22,040
Speaker 3: talk about any of this stuff and we just have lunch.

1793
01:19:22,439 --> 01:19:24,519
Speaker 3: He says, that makes sense. He says, how could you

1794
01:19:24,600 --> 01:19:28,000
Speaker 3: refuse just having lunch. I was like, okay, He's gonna

1795
01:19:28,000 --> 01:19:30,160
Speaker 3: come correct, Okay, we just go go have lunch. So

1796
01:19:30,640 --> 01:19:33,080
Speaker 3: Carol comes with me. We go to lunch and one

1797
01:19:33,120 --> 01:19:35,080
Speaker 3: thing leads to another. Clide says, so what are you

1798
01:19:35,120 --> 01:19:36,760
Speaker 3: planning on doing with all the time. Before he gets

1799
01:19:36,760 --> 01:19:40,280
Speaker 3: finished talk, Carroll says, Rahul, make a record. They starting

1800
01:19:40,280 --> 01:19:44,559
Speaker 3: to negotiate ninety I thought like, yeah, like this has

1801
01:19:44,600 --> 01:19:46,559
Speaker 3: been prepped and ain't I'm part of it. I'm out

1802
01:19:46,640 --> 01:19:49,360
Speaker 3: the loop again once again. And so that's how we

1803
01:19:49,439 --> 01:19:52,639
Speaker 3: started talking about that stuff. And you know, he said,

1804
01:19:52,640 --> 01:19:53,800
Speaker 3: I'll get you the best.

1805
01:19:54,439 --> 01:19:54,599
Speaker 1: Yeah.

1806
01:19:54,640 --> 01:19:56,880
Speaker 3: We were talking about what to do, and to me,

1807
01:19:56,960 --> 01:19:58,200
Speaker 3: I said, I don't want to have an album like

1808
01:19:58,240 --> 01:19:59,920
Speaker 3: David T. Marker where they just kind of played on

1809
01:20:00,040 --> 01:20:01,560
Speaker 3: the jazz stations on that. I said, I want to

1810
01:20:01,560 --> 01:20:04,120
Speaker 3: be on Kiss FM, Top forty radio d DA da DA.

1811
01:20:04,720 --> 01:20:06,639
Speaker 3: And so he told me what had to happen if

1812
01:20:06,680 --> 01:20:08,120
Speaker 3: I want to be on top for the race. He said, well,

1813
01:20:08,120 --> 01:20:09,600
Speaker 3: if you make you don't make a record like all

1814
01:20:09,600 --> 01:20:11,320
Speaker 3: of them with all them notes and chords da da.

1815
01:20:11,479 --> 01:20:13,120
Speaker 3: If you cut it like Jack and Jill, I get

1816
01:20:13,160 --> 01:20:15,400
Speaker 3: the three chords, boom, we got it. So we made

1817
01:20:15,400 --> 01:20:16,920
Speaker 3: a deal. I told him I'll never write a song

1818
01:20:17,040 --> 01:20:21,000
Speaker 3: have more th three chords. Okay, it's gonna be intro

1819
01:20:21,280 --> 01:20:23,639
Speaker 3: verse card, it's gonna be very predictable, intro verse course

1820
01:20:23,760 --> 01:20:26,320
Speaker 3: verse chors bridge, and you know, I said, I'm gonna

1821
01:20:26,320 --> 01:20:28,840
Speaker 3: do that. It'll be three minutes and forty five seconds long,

1822
01:20:29,080 --> 01:20:30,720
Speaker 3: and it'll be some chords, and we have some great

1823
01:20:30,800 --> 01:20:32,720
Speaker 3: lyrics and story and that's the end that we see

1824
01:20:32,760 --> 01:20:34,560
Speaker 3: the melody being gonna cover up the melody with a

1825
01:20:34,600 --> 01:20:37,400
Speaker 3: bunch of playing and that. He was like, okay, I said,

1826
01:20:37,439 --> 01:20:38,840
Speaker 3: but can you get I want to be on Kiss

1827
01:20:39,000 --> 01:20:40,760
Speaker 3: FM and Da Da Da d they told him. So

1828
01:20:40,880 --> 01:20:44,719
Speaker 3: we had that conversation and then we had an interesting conversation.

1829
01:20:44,840 --> 01:20:47,479
Speaker 3: He said to me, I'll get you the best producers,

1830
01:20:47,520 --> 01:20:49,439
Speaker 3: I'll get you the best studio of record plan, I'll

1831
01:20:49,439 --> 01:20:50,920
Speaker 3: get you the best ring, I'll get you the best

1832
01:20:50,960 --> 01:20:52,960
Speaker 3: of everything. And I just told him, you know, I

1833
01:20:53,040 --> 01:20:54,680
Speaker 3: really don't want none of that. What I like to

1834
01:20:54,720 --> 01:20:56,800
Speaker 3: do is just go home and cut it home. Because

1835
01:20:56,800 --> 01:20:59,400
Speaker 3: by this time I put a little sixteen track and

1836
01:21:00,040 --> 01:21:02,360
Speaker 3: board and all that stuff, and me and Reggie Doser

1837
01:21:02,840 --> 01:21:05,000
Speaker 3: with my Dosie brother, we wired the whole thing ourselves.

1838
01:21:05,000 --> 01:21:07,280
Speaker 3: Took us two months. I mean when I say wired,

1839
01:21:07,520 --> 01:21:09,160
Speaker 3: I don't mean plugged in. I'm talking about all the

1840
01:21:09,240 --> 01:21:12,960
Speaker 3: solder and George wired everything did the whole. I had

1841
01:21:13,000 --> 01:21:15,439
Speaker 3: to give him my TV set to keep going. At

1842
01:21:15,479 --> 01:21:19,240
Speaker 3: one point I wish I had a video crack deal,

1843
01:21:21,240 --> 01:21:23,080
Speaker 3: pretty much like a crack deal, you know. And for

1844
01:21:23,200 --> 01:21:26,320
Speaker 3: those who think I wasn't dedicated, I recorded my brother's

1845
01:21:26,400 --> 01:21:30,400
Speaker 3: band in ABC in early seventy four, wiped out twenty

1846
01:21:30,560 --> 01:21:32,960
Speaker 3: seven thousand dollars, which was a lot of money in

1847
01:21:33,080 --> 01:21:36,639
Speaker 3: nineteen seventy five cent. And then I had spent eighty

1848
01:21:36,720 --> 01:21:40,200
Speaker 3: seven thousand dollars on studio equipment and putting the studio

1849
01:21:40,240 --> 01:21:42,040
Speaker 3: in the house, at which everybody then was one hundred

1850
01:21:42,040 --> 01:21:44,280
Speaker 3: percent sure I had lost my mind. At the same

1851
01:21:44,360 --> 01:21:46,639
Speaker 3: time I lost the song with litls hair and getting

1852
01:21:46,680 --> 01:21:49,240
Speaker 3: kicked out of A and M just a whole bunch

1853
01:21:49,280 --> 01:21:51,800
Speaker 3: of things going wrong. So at that point, everywhere I went,

1854
01:21:51,840 --> 01:21:53,960
Speaker 3: they would say, there he is, there is I can't

1855
01:21:54,040 --> 01:21:56,200
Speaker 3: believe that's the idiot, right They spent all his money,

1856
01:21:56,880 --> 01:21:59,120
Speaker 3: plays the hell of a guitar, but he's letting all

1857
01:21:59,160 --> 01:22:00,400
Speaker 3: his money doing other stuff, you know.

1858
01:22:00,800 --> 01:22:02,639
Speaker 1: And just to clarify, what was the song with wil said,

1859
01:22:03,320 --> 01:22:05,280
Speaker 1: you make me feel like I feel like dancing. You

1860
01:22:05,400 --> 01:22:07,880
Speaker 1: make me feel like dancing. Yeah. Yeah.

1861
01:22:08,000 --> 01:22:11,679
Speaker 3: So things are going like really south in a fast sense.

1862
01:22:12,080 --> 01:22:14,240
Speaker 3: So we wired a studio and I just told Climb,

1863
01:22:14,240 --> 01:22:16,479
Speaker 3: I like to cut it home if you don't mind, right,

1864
01:22:17,120 --> 01:22:19,080
Speaker 3: and his words to me. He thought about it and

1865
01:22:19,120 --> 01:22:21,800
Speaker 3: he said, okay, he says, but if you screw it up,

1866
01:22:22,280 --> 01:22:23,680
Speaker 3: you know we'll listen to it. If you screw it up,

1867
01:22:23,720 --> 01:22:25,519
Speaker 3: then let's do it the other way. I thought that

1868
01:22:25,640 --> 01:22:27,280
Speaker 3: was fair. That was fair, right, So give me a

1869
01:22:27,320 --> 01:22:29,200
Speaker 3: good shot at and I thought I could deliver it.

1870
01:22:29,360 --> 01:22:32,040
Speaker 3: The next thing that happened. I had done Boss gags

1871
01:22:32,080 --> 01:22:33,960
Speaker 3: and a bunch of other stuff with Bill Shane, who

1872
01:22:34,040 --> 01:22:36,680
Speaker 3: was the really prominent engineer there. I think he did

1873
01:22:36,680 --> 01:22:40,040
Speaker 3: the Asia album for Steely Dan Need won Grammys, and

1874
01:22:40,439 --> 01:22:43,479
Speaker 3: at the time he was probably the most prominent engineer

1875
01:22:43,520 --> 01:22:46,720
Speaker 3: in the business. All of a sudden, Bill Shane, who

1876
01:22:46,760 --> 01:22:48,479
Speaker 3: I've been working with for years, he shows up at

1877
01:22:48,520 --> 01:22:50,439
Speaker 3: my house right now, I know this is the work

1878
01:22:50,479 --> 01:22:54,000
Speaker 3: of Kavala Ruffalo and Carrol Childs and everybody else. They're like, Bill,

1879
01:22:58,000 --> 01:23:01,200
Speaker 3: you management, yeah, everything.

1880
01:23:01,439 --> 01:23:01,920
Speaker 1: Wait a minute.

1881
01:23:02,920 --> 01:23:05,280
Speaker 3: They were with Earth when a fire and Earth Fire okay.

1882
01:23:05,360 --> 01:23:07,679
Speaker 3: So so they come over to my house to listen

1883
01:23:07,760 --> 01:23:10,960
Speaker 3: to the music, and so they had no chair from

1884
01:23:11,000 --> 01:23:13,000
Speaker 3: the city, and so they'll stand up and they're thinking,

1885
01:23:13,240 --> 01:23:15,080
Speaker 3: what kind of place is this? I got cables on

1886
01:23:15,160 --> 01:23:17,640
Speaker 3: the roof, the stuff, the drums in the bedroom, and

1887
01:23:17,760 --> 01:23:19,280
Speaker 3: Mike's hanging in front of the things. We don't have

1888
01:23:19,400 --> 01:23:21,800
Speaker 3: enough money for Mike's stands, you know. So things are

1889
01:23:21,840 --> 01:23:24,519
Speaker 3: looking pretty raw and rough, and so they send Bill

1890
01:23:24,600 --> 01:23:27,120
Speaker 3: Schnee over in my house to talk me out of it, basically,

1891
01:23:27,640 --> 01:23:29,680
Speaker 3: and Bill listens to the song where I cut it,

1892
01:23:29,720 --> 01:23:32,479
Speaker 3: and he goes back. He says, well, besides, the eight

1893
01:23:32,520 --> 01:23:35,760
Speaker 3: of the tracks are out of phase, and you don't

1894
01:23:35,760 --> 01:23:37,320
Speaker 3: sound that bad, he says, not what I would do,

1895
01:23:37,360 --> 01:23:38,760
Speaker 3: he says, But if it's a hit, it's a hit.

1896
01:23:38,840 --> 01:23:39,000
Speaker 1: You know.

1897
01:23:39,200 --> 01:23:42,280
Speaker 3: I'm mentioning this because the turning point at that stage

1898
01:23:42,960 --> 01:23:47,839
Speaker 3: is when before then everything I did was stupid, stupid, stupid, stupid,

1899
01:23:47,840 --> 01:23:50,320
Speaker 3: stupid except write some good songs to play the guitar.

1900
01:23:50,840 --> 01:23:54,320
Speaker 3: Once Bill Schnee said that that record was gonna be okay,

1901
01:23:54,640 --> 01:23:57,160
Speaker 3: nobody ever questioned about any of my studio stuff again

1902
01:23:57,280 --> 01:23:59,960
Speaker 3: ever in life. That was the end of it. Blessing

1903
01:24:00,120 --> 01:24:02,080
Speaker 3: I had the big boy come over and he's put

1904
01:24:02,120 --> 01:24:03,200
Speaker 3: he put his hand on me.

1905
01:24:03,520 --> 01:24:05,240
Speaker 1: That was it. Right.

1906
01:24:05,960 --> 01:24:09,320
Speaker 3: Next thing I know after that, Prince was coming over

1907
01:24:09,439 --> 01:24:11,880
Speaker 3: right because he came over and he was like what

1908
01:24:12,160 --> 01:24:15,040
Speaker 3: is He came to Caballo Ruffalo and they were trying

1909
01:24:15,080 --> 01:24:17,840
Speaker 3: to sign Prince and he wasn't signing. He says, what

1910
01:24:18,000 --> 01:24:19,360
Speaker 3: y'all can do for me is take me over a

1911
01:24:19,439 --> 01:24:23,599
Speaker 3: race house because I hear he's got a studio. That's

1912
01:24:23,640 --> 01:24:25,960
Speaker 3: all he wanted to do. So they called me up.

1913
01:24:25,960 --> 01:24:27,920
Speaker 3: They said, man, Prince wants to come over your house.

1914
01:24:28,240 --> 01:24:29,720
Speaker 3: We're talking to him about that. He says, but he

1915
01:24:30,000 --> 01:24:31,280
Speaker 3: just wants to see the studio.

1916
01:24:31,000 --> 01:24:31,360
Speaker 1: In the house.

1917
01:24:31,400 --> 01:24:35,000
Speaker 3: He ain't saying nothing else but that, right, And they said, well,

1918
01:24:35,000 --> 01:24:36,479
Speaker 3: you know he's gonna come over and he ain't gonna

1919
01:24:36,479 --> 01:24:38,760
Speaker 3: talk much. You know, he's gonna say much. It wasn't

1920
01:24:38,840 --> 01:24:41,479
Speaker 3: like that all. When I got done and I said,

1921
01:24:41,640 --> 01:24:44,640
Speaker 3: he didn't want to talk to you guys, we went hang.

1922
01:24:45,120 --> 01:24:46,439
Speaker 3: I was take him for a ride in the Rose

1923
01:24:46,520 --> 01:24:49,400
Speaker 3: Royce and we were cruising the Sunset Boulevard and you know,

1924
01:24:49,479 --> 01:24:51,439
Speaker 3: and he just wanted to get the studio equipment his house.

1925
01:24:51,479 --> 01:24:54,160
Speaker 3: So we he didn't have quite as much money. So

1926
01:24:54,240 --> 01:24:56,120
Speaker 3: we didn't get him a Jage twenty four like I

1927
01:24:56,200 --> 01:24:59,080
Speaker 3: had the MCI stuff. So we got him a Soundcraft board.

1928
01:24:59,400 --> 01:25:02,200
Speaker 3: Then I got my I got Yeah Soundcraft, and I

1929
01:25:02,240 --> 01:25:04,240
Speaker 3: got Steve flew back to Minneapolis and we put it

1930
01:25:04,320 --> 01:25:04,599
Speaker 3: in there.

1931
01:25:05,000 --> 01:25:06,800
Speaker 1: And I remember he had a BMW.

1932
01:25:06,600 --> 01:25:10,320
Speaker 3: Six thirty six, and so I got a stereo system

1933
01:25:10,360 --> 01:25:12,240
Speaker 3: done in the car like my stereo system was done

1934
01:25:12,240 --> 01:25:13,600
Speaker 3: in the car. And we were hanging out, you know.

1935
01:25:14,200 --> 01:25:16,679
Speaker 3: And so Warner Brothers wanted me to produce the next album.

1936
01:25:16,680 --> 01:25:18,720
Speaker 3: I think it was sexy dance on all that stuff, right,

1937
01:25:19,120 --> 01:25:20,880
Speaker 3: So he comes back to my house the next trip

1938
01:25:20,920 --> 01:25:23,240
Speaker 3: to LA and he plays me what he got. You know,

1939
01:25:23,280 --> 01:25:25,200
Speaker 3: we're supposed to be working on it. And you know,

1940
01:25:25,439 --> 01:25:27,360
Speaker 3: I mean, I probably talked myself out of a lot

1941
01:25:27,400 --> 01:25:29,519
Speaker 3: of money, but I just told the truth. I was young.

1942
01:25:29,840 --> 01:25:31,760
Speaker 3: I heard the album. I said, I don't know see

1943
01:25:31,800 --> 01:25:34,000
Speaker 3: what to do with this. This sounds great like it is,

1944
01:25:34,720 --> 01:25:36,840
Speaker 3: you know. So I told Warner brother y'all should leave

1945
01:25:36,880 --> 01:25:39,600
Speaker 3: him alone. This sounds great just like it is. And

1946
01:25:39,800 --> 01:25:41,680
Speaker 3: so they put it out like it wasn't. The rest

1947
01:25:41,760 --> 01:25:44,599
Speaker 3: is History is a hit. The rest is history. Yeah,

1948
01:25:44,680 --> 01:25:46,800
Speaker 3: In fact, I'm finishing a studio now, and what's so

1949
01:25:46,960 --> 01:25:49,679
Speaker 3: sad about it is every studio I've ever built, Prince

1950
01:25:49,800 --> 01:25:52,120
Speaker 3: was one of the first guys there. Well, he is

1951
01:25:52,240 --> 01:25:54,479
Speaker 3: not coming to this one, unfortunately. I was planning on

1952
01:25:54,600 --> 01:25:56,479
Speaker 3: you know, when I started working on this one was

1953
01:25:56,520 --> 01:25:58,200
Speaker 3: like a year, so going like, oh yeah, we'll get

1954
01:25:58,240 --> 01:25:59,720
Speaker 3: hing my boy over here. Blessed, you know, we go

1955
01:25:59,800 --> 01:26:01,639
Speaker 3: back to the right the way, with the old days,

1956
01:26:01,680 --> 01:26:02,960
Speaker 3: the way we used to do it, you know, and

1957
01:26:03,080 --> 01:26:04,800
Speaker 3: this will be the first one. He ain't making it too.

1958
01:26:05,920 --> 01:26:09,080
Speaker 3: That was important to me because here's another guy that

1959
01:26:09,320 --> 01:26:11,400
Speaker 3: was that had one head record at the time. But

1960
01:26:11,479 --> 01:26:13,960
Speaker 3: at least what it made me think is I wasn't

1961
01:26:13,960 --> 01:26:16,200
Speaker 3: a complete idiot, because remember, everybody's making me feel like

1962
01:26:16,240 --> 01:26:18,800
Speaker 3: an idiot. So now here comes Prince coming over, and

1963
01:26:18,840 --> 01:26:21,200
Speaker 3: the only thing he cares about is what's he doing

1964
01:26:21,280 --> 01:26:23,800
Speaker 3: over there? I want to do that. Then Larry Graham

1965
01:26:23,880 --> 01:26:26,160
Speaker 3: came over and he got the same stuff I got

1966
01:26:26,200 --> 01:26:27,720
Speaker 3: and cut one of the one in a million on

1967
01:26:27,800 --> 01:26:29,440
Speaker 3: the same same system.

1968
01:26:29,240 --> 01:26:31,240
Speaker 1: Same way. Wow, And it's like in his home.

1969
01:26:31,840 --> 01:26:33,240
Speaker 3: Oh yeah, he put the same he said he did.

1970
01:26:33,560 --> 01:26:35,240
Speaker 3: Larry told me he did exactly what I did. Put

1971
01:26:35,280 --> 01:26:37,280
Speaker 3: in the bedrooms. Boom, cut it and that was it.

1972
01:26:38,439 --> 01:26:40,640
Speaker 1: But what's the sound that radical back then too?

1973
01:26:41,640 --> 01:26:45,479
Speaker 3: To what was what was wrong in the studio is

1974
01:26:46,240 --> 01:26:49,599
Speaker 3: unlike it is today. You guys have applefires. Everybody brings

1975
01:26:49,640 --> 01:26:52,439
Speaker 3: in their own gears bringing there. Each studio there had

1976
01:26:52,479 --> 01:26:55,479
Speaker 3: its own sound sort of and each the engineers all

1977
01:26:55,600 --> 01:26:58,400
Speaker 3: stayed with sort of one studio, and so you would

1978
01:26:58,439 --> 01:27:00,120
Speaker 3: be with their sound. And it's not that the your

1979
01:27:00,200 --> 01:27:02,479
Speaker 3: sound was bad, but if you wanted to do something

1980
01:27:02,520 --> 01:27:05,200
Speaker 3: different or you had something different in your head, if

1981
01:27:05,240 --> 01:27:07,599
Speaker 3: you're paying two hundred dollars an hour, you can't think

1982
01:27:07,640 --> 01:27:07,960
Speaker 3: about it.

1983
01:27:08,720 --> 01:27:09,559
Speaker 1: You know, you got to move.

1984
01:27:10,000 --> 01:27:12,479
Speaker 3: So yeah, yeah, So what Prince want to do is

1985
01:27:12,560 --> 01:27:14,320
Speaker 3: just play with the guitar sound. Let me play with

1986
01:27:14,400 --> 01:27:16,439
Speaker 3: a different sound, Let me play with a different drum

1987
01:27:16,520 --> 01:27:17,920
Speaker 3: sound for men. Let me see what that would do.

1988
01:27:18,439 --> 01:27:20,080
Speaker 3: And so when you had the equipment at your house,

1989
01:27:20,120 --> 01:27:22,680
Speaker 3: they would allow you to do that, fucking out the system. Yeah,

1990
01:27:22,760 --> 01:27:24,839
Speaker 3: and it was just the beginning of it. So everybody

1991
01:27:24,920 --> 01:27:26,800
Speaker 3: kept saying, you can't do it. The walls don't work,

1992
01:27:26,840 --> 01:27:29,599
Speaker 3: this don't work, and it just wasn't true. Everybody said

1993
01:27:29,600 --> 01:27:31,640
Speaker 3: the equipment would break. You need a tech person. Now

1994
01:27:31,680 --> 01:27:34,560
Speaker 3: I never had a tech person. Nothing broke, and so

1995
01:27:34,720 --> 01:27:37,040
Speaker 3: it was you know, it turned into a different scene.

1996
01:27:37,160 --> 01:27:39,400
Speaker 3: You know, if you read Clive's book, was nice about

1997
01:27:39,400 --> 01:27:41,160
Speaker 3: his book. First thing he says is, yeah, we did

1998
01:27:41,200 --> 01:27:43,799
Speaker 3: this a year before Prince and the year before anybody

1999
01:27:43,880 --> 01:27:45,840
Speaker 3: did it. We'd experimented with that and did it, you know,

2000
01:27:46,760 --> 01:27:49,640
Speaker 3: and it made me feel better by myself, just to

2001
01:27:49,680 --> 01:27:52,040
Speaker 3: see some other people that I respected thought that I

2002
01:27:52,200 --> 01:27:55,200
Speaker 3: wasn't crazy because I had been hearing you're crazy, you're

2003
01:27:55,240 --> 01:27:58,000
Speaker 3: crazy for so long. To hear two other guys say yeah,

2004
01:27:58,000 --> 01:27:59,639
Speaker 3: I don't think it's that crazy, that's all that good

2005
01:27:59,680 --> 01:28:01,639
Speaker 3: idea and then they go do it and have success

2006
01:28:01,680 --> 01:28:03,800
Speaker 3: with it too, was really rejuvenating.

2007
01:28:03,880 --> 01:28:08,200
Speaker 1: Well, I would figure, especially this is the error in

2008
01:28:08,280 --> 01:28:12,800
Speaker 1: which Stevie, who's constantly reinvented himself and doing the one

2009
01:28:12,880 --> 01:28:15,720
Speaker 1: man thing by himself. I would figure that all the

2010
01:28:15,800 --> 01:28:18,640
Speaker 1: labels would have been salivating for, like, you know, we

2011
01:28:18,760 --> 01:28:19,320
Speaker 1: want to armor.

2012
01:28:19,439 --> 01:28:22,000
Speaker 3: You know, yeah, you would think so. But they just

2013
01:28:22,080 --> 01:28:25,080
Speaker 3: wanted somebody, and they didn't understand that. They just want

2014
01:28:25,200 --> 01:28:27,200
Speaker 3: somebody in their box and you know, send them to

2015
01:28:27,240 --> 01:28:29,240
Speaker 3: the record plant. You know, they think was get this engineer,

2016
01:28:29,320 --> 01:28:31,120
Speaker 3: get this arrange and send them to the plan. Let's

2017
01:28:31,120 --> 01:28:33,559
Speaker 3: see what happened. Get this producer, get your you know someone,

2018
01:28:33,640 --> 01:28:34,519
Speaker 3: so the producer, let's go.

2019
01:28:34,640 --> 01:28:41,080
Speaker 1: You know, I got I gotta tell a funny story

2020
01:28:41,080 --> 01:28:45,360
Speaker 1: about this. I don't. I don't even think Ray knew this.

2021
01:28:45,960 --> 01:28:48,280
Speaker 1: When Ray's sitting with us at the Tonight show and

2022
01:28:48,360 --> 01:28:50,920
Speaker 1: we're going over this right now. This is about like

2023
01:28:51,120 --> 01:28:53,400
Speaker 1: four months after like my dad's passing.

2024
01:28:53,960 --> 01:28:54,519
Speaker 3: It was weird.

2025
01:28:54,720 --> 01:28:58,360
Speaker 1: I knew one of these days someone's gonna trigger the

2026
01:28:58,640 --> 01:29:02,680
Speaker 1: floodgate of tears, but I think it's going to be

2027
01:29:02,800 --> 01:29:03,840
Speaker 1: the sound of rape party.

2028
01:29:07,160 --> 01:29:08,800
Speaker 3: You said that at the time, he said, Man, it

2029
01:29:08,960 --> 01:29:09,600
Speaker 3: just broke me up.

2030
01:29:10,520 --> 01:29:13,880
Speaker 1: My whole goal was just like you wanted to escape

2031
01:29:14,280 --> 01:29:17,880
Speaker 1: A and M Records without like people saying you freaking

2032
01:29:18,080 --> 01:29:21,120
Speaker 1: down and cry. I was like, all right, I gotta

2033
01:29:21,160 --> 01:29:23,000
Speaker 1: get out this moon and I gotta make it to

2034
01:29:23,120 --> 01:29:26,200
Speaker 1: my office. You know, none of the Roots series, so

2035
01:29:26,360 --> 01:29:27,120
Speaker 1: they don't clown me.

2036
01:29:27,200 --> 01:29:29,360
Speaker 3: I try to get glad. I didn't, no glasses nothing.

2037
01:29:29,800 --> 01:29:33,920
Speaker 3: I'm like balling like a mother. So I think I

2038
01:29:34,120 --> 01:29:35,519
Speaker 3: just ran out the room like I.

2039
01:29:35,560 --> 01:29:36,320
Speaker 1: Was dabbing, like.

2040
01:29:40,200 --> 01:29:42,920
Speaker 6: And it was this song Jack and Jail particularly that's yeah,

2041
01:29:42,960 --> 01:29:44,360
Speaker 6: it's like just.

2042
01:29:44,360 --> 01:29:46,360
Speaker 1: To hit him, just hit it. Just it just well

2043
01:29:46,560 --> 01:29:50,400
Speaker 1: because that was the first song I sang. I sang

2044
01:29:50,479 --> 01:29:54,200
Speaker 1: in the second grade pageant. Like at performing arts you

2045
01:29:54,840 --> 01:29:57,200
Speaker 1: have to display some sort of talent or whatever. And

2046
01:29:57,400 --> 01:30:00,120
Speaker 1: so I remember I sang.

2047
01:30:00,720 --> 01:30:04,680
Speaker 3: Jack and Jail the second grade and I see my

2048
01:30:04,840 --> 01:30:07,840
Speaker 3: parents and right, yeah, right, and so it was just

2049
01:30:07,920 --> 01:30:08,360
Speaker 3: a memory.

2050
01:30:08,400 --> 01:30:10,519
Speaker 1: But I mean there's nothing like the song like make

2051
01:30:10,600 --> 01:30:12,920
Speaker 1: me sad whatever. It was less grief though, man, Like

2052
01:30:13,280 --> 01:30:15,080
Speaker 1: remember I expected like that, it just put you in

2053
01:30:15,160 --> 01:30:18,120
Speaker 1: that place. Yeah, but it was just such an unexpected thing.

2054
01:30:18,200 --> 01:30:21,640
Speaker 1: And like I was like, man, I cannot see the

2055
01:30:21,800 --> 01:30:25,200
Speaker 1: roots and Steve and Ray Parker Jr. Seeing me crying.

2056
01:30:27,200 --> 01:30:28,320
Speaker 6: But don't you think it's interesting?

2057
01:30:28,360 --> 01:30:30,280
Speaker 4: Because I was thinking about about your music, and I

2058
01:30:30,360 --> 01:30:33,439
Speaker 4: feel like Ray Parker Junior's music, especially for seventy late

2059
01:30:33,520 --> 01:30:36,479
Speaker 4: seventies eighties babies, it gives them their members of an era,

2060
01:30:36,680 --> 01:30:39,000
Speaker 4: like it's kind of like a joyful time when you were.

2061
01:30:40,479 --> 01:30:42,360
Speaker 6: No worries and you was my mama's first crush.

2062
01:30:42,400 --> 01:30:43,599
Speaker 1: That was when my aunt had money.

2063
01:30:43,720 --> 01:30:46,880
Speaker 5: My aunt like she loves you, I mean she was

2064
01:30:47,160 --> 01:30:49,680
Speaker 5: how I first got introduced to your music and she

2065
01:30:49,760 --> 01:30:51,960
Speaker 5: would always buy, you know, the records and stuff, and

2066
01:30:52,120 --> 01:30:54,400
Speaker 5: like she had all the radio albums and everything. And

2067
01:30:55,320 --> 01:30:57,720
Speaker 5: it was interesting to me hearing you talk about your

2068
01:30:57,760 --> 01:31:01,200
Speaker 5: journey to becoming a singer. How you know that was

2069
01:31:01,280 --> 01:31:03,160
Speaker 5: something that I guess maybe you were a little reluctant

2070
01:31:03,200 --> 01:31:05,680
Speaker 5: to do, but I always thought you were like the

2071
01:31:05,720 --> 01:31:06,599
Speaker 5: coolest one for ever.

2072
01:31:06,760 --> 01:31:12,200
Speaker 3: Right, here's the trick I was. I was a musician first,

2073
01:31:12,600 --> 01:31:14,640
Speaker 3: and I knew it was supposed to sound like So

2074
01:31:14,760 --> 01:31:16,800
Speaker 3: when I first started singing, it was out of two.

2075
01:31:17,200 --> 01:31:18,880
Speaker 3: I mean, I don't need nobody to tell me. I

2076
01:31:19,000 --> 01:31:22,720
Speaker 3: heard myself. So I surrounded myself with people who could sing,

2077
01:31:23,120 --> 01:31:25,360
Speaker 3: and then I started working on it. It's just like

2078
01:31:25,479 --> 01:31:27,760
Speaker 3: lifting weights. If you do it long enough, you get

2079
01:31:27,800 --> 01:31:29,720
Speaker 3: your voice and you get to go. But it wasn't

2080
01:31:29,800 --> 01:31:31,920
Speaker 3: until I think the third album when I did, and

2081
01:31:31,960 --> 01:31:34,040
Speaker 3: Woman These Love is the first real commercial record I

2082
01:31:34,120 --> 01:31:36,800
Speaker 3: sang all the way through by myself, you know, like

2083
01:31:36,920 --> 01:31:39,519
Speaker 3: Jack and Jail is me, but it's also Jerry, and

2084
01:31:39,640 --> 01:31:41,760
Speaker 3: it's also R and M and Jerry sitting up behind

2085
01:31:41,800 --> 01:31:42,599
Speaker 3: notes by the way.

2086
01:31:44,200 --> 01:31:46,360
Speaker 6: Woman Need Love album, that's the one with the white

2087
01:31:46,400 --> 01:31:47,439
Speaker 6: pants and the peach back and.

2088
01:31:48,800 --> 01:31:49,840
Speaker 1: The other woman was the one.

2089
01:31:49,960 --> 01:31:53,559
Speaker 6: That's why I said somebody was doing that was that.

2090
01:31:53,720 --> 01:31:57,760
Speaker 3: Was like I just can't get over loving you.

2091
01:31:57,880 --> 01:31:58,120
Speaker 1: That's like.

2092
01:32:00,479 --> 01:32:04,360
Speaker 3: We gotta We're still in recreation cocaine period.

2093
01:32:04,439 --> 01:32:07,160
Speaker 5: Right, Why are we always associated with drugs?

2094
01:32:08,120 --> 01:32:10,360
Speaker 1: But I don't do any drugs, just saying no, no,

2095
01:32:10,520 --> 01:32:12,599
Speaker 1: I know that I didn't do it, but but you're

2096
01:32:12,600 --> 01:32:18,320
Speaker 1: absolutely the worst tragedy to black people, just like this

2097
01:32:18,439 --> 01:32:19,559
Speaker 1: recreational drug period.

2098
01:32:19,640 --> 01:32:21,000
Speaker 5: But yeah, that was the thing, like my an would

2099
01:32:21,000 --> 01:32:23,320
Speaker 5: always pay your records. And the thing that later on,

2100
01:32:23,600 --> 01:32:24,960
Speaker 5: I mean, I'm listening to this stuff as a kid,

2101
01:32:25,040 --> 01:32:27,080
Speaker 5: but listen to it later on. The thing that I

2102
01:32:27,120 --> 01:32:29,000
Speaker 5: always thought was jenius about what you did is that

2103
01:32:29,160 --> 01:32:32,880
Speaker 5: your presentation was very like smooth and like very sophisticated.

2104
01:32:33,280 --> 01:32:35,479
Speaker 3: But the lyrics like you'll be saying by somebody.

2105
01:32:37,960 --> 01:32:40,519
Speaker 5: Yeah, I was like, damn, Like the I don't want

2106
01:32:40,560 --> 01:32:42,519
Speaker 5: to know about yours, you don't know about mine.

2107
01:32:43,160 --> 01:32:45,559
Speaker 3: It don't make sense to look too hard for what your.

2108
01:32:45,479 --> 01:32:52,760
Speaker 1: Heart don't want to love. He made affairs sound like, yeah,

2109
01:32:52,800 --> 01:32:54,840
Speaker 1: a woman needs loves, it makes sense.

2110
01:32:54,960 --> 01:32:57,760
Speaker 5: It's like she yet, yeah, your woman should get you'll

2111
01:32:57,800 --> 01:32:58,640
Speaker 5: get your heart broke out.

2112
01:32:58,680 --> 01:33:00,040
Speaker 3: The homie yeah, don't get.

2113
01:33:01,960 --> 01:33:04,360
Speaker 1: So how did you how did you organize radio? I mean,

2114
01:33:04,400 --> 01:33:07,840
Speaker 1: at what point did you bring? Uh was Arnel Carmichael

2115
01:33:07,880 --> 01:33:08,160
Speaker 1: and now.

2116
01:33:08,160 --> 01:33:10,800
Speaker 3: He was in my brother's band, Rnel and Vincent What

2117
01:33:11,000 --> 01:33:12,040
Speaker 3: was your brother's band's name?

2118
01:33:12,760 --> 01:33:16,040
Speaker 1: Energy? Perry Coomu had had a really good quote and

2119
01:33:16,760 --> 01:33:19,400
Speaker 1: they said like, what's the secret to your success? And

2120
01:33:19,520 --> 01:33:22,679
Speaker 1: he says, well, I never reach I mean I don't

2121
01:33:22,720 --> 01:33:26,400
Speaker 1: try too hard. But again it's it's that where it's

2122
01:33:26,439 --> 01:33:29,200
Speaker 1: where did our love go? Theory? You you had it,

2123
01:33:29,360 --> 01:33:33,320
Speaker 1: especially with with with Jerry Knight, someone that can sing,

2124
01:33:33,800 --> 01:33:36,600
Speaker 1: s a and g you know, to provide that. But

2125
01:33:37,200 --> 01:33:39,679
Speaker 1: what gave you the wisdom especially on your first album?

2126
01:33:39,720 --> 01:33:42,240
Speaker 1: Because I'll be honest with you, I didn't learn this

2127
01:33:42,439 --> 01:33:46,240
Speaker 1: lesson until twenty years into my career. Like I've yet.

2128
01:33:46,720 --> 01:33:48,680
Speaker 1: Now that I have a wisdom, I'm gonna try and

2129
01:33:48,760 --> 01:33:51,639
Speaker 1: apply it to the next album. But it took seventeen

2130
01:33:51,680 --> 01:33:53,920
Speaker 1: records from me to figure out, Like, no, all this

2131
01:33:54,040 --> 01:33:57,320
Speaker 1: complex stuff you're doing, like you gotta do something simple,

2132
01:33:58,080 --> 01:34:00,479
Speaker 1: But there's an art too simplicity, Like I like, people

2133
01:34:00,720 --> 01:34:02,720
Speaker 1: tend to look down on it. But what gave you

2134
01:34:02,800 --> 01:34:07,600
Speaker 1: the wisdom to keep it at a digestible level that

2135
01:34:08,240 --> 01:34:11,320
Speaker 1: wasn't so complex that it wasn't alienating. I mean, but

2136
01:34:11,479 --> 01:34:12,400
Speaker 1: it was still appealing.

2137
01:34:12,680 --> 01:34:15,760
Speaker 3: But yet here's what took me down a path, let's say,

2138
01:34:16,080 --> 01:34:17,559
Speaker 3: and I think it was a small tunnel.

2139
01:34:18,000 --> 01:34:19,800
Speaker 1: And this is why I asked your opinion on Clive

2140
01:34:20,120 --> 01:34:23,120
Speaker 1: because I know that he has a very narrow tunnel

2141
01:34:24,000 --> 01:34:26,120
Speaker 1: of this is a hit, this is not a hit exactly.

2142
01:34:26,360 --> 01:34:28,240
Speaker 1: He just you stayed with him for the longest, so

2143
01:34:28,320 --> 01:34:30,960
Speaker 1: obviously you had out. Yeah.

2144
01:34:31,040 --> 01:34:34,720
Speaker 3: Yeah, well it's a narrow tunnel. Especially when you think

2145
01:34:34,760 --> 01:34:37,760
Speaker 3: about music. You have to think about what is your

2146
01:34:37,840 --> 01:34:39,680
Speaker 3: gift to music? What are you talented at doing?

2147
01:34:40,000 --> 01:34:40,640
Speaker 1: What can you do?

2148
01:34:40,800 --> 01:34:43,559
Speaker 3: What can you not do? I can't dance like Michael Jackson,

2149
01:34:43,920 --> 01:34:46,200
Speaker 3: still can't. You can put me on Dancing with the Stars.

2150
01:34:46,439 --> 01:34:47,960
Speaker 3: I'm good for the first week, but you know I

2151
01:34:48,040 --> 01:34:49,600
Speaker 3: can't do the spin. I can't just can't do it.

2152
01:34:49,640 --> 01:34:52,240
Speaker 3: I don't have my bones, don't beat with the drums

2153
01:34:52,280 --> 01:34:54,280
Speaker 3: like they ain't gonna happen. I ain't gonna go So

2154
01:34:55,000 --> 01:34:57,720
Speaker 3: I figured out a long time ago. I don't think

2155
01:34:57,720 --> 01:35:00,720
Speaker 3: I'm ever gonna sing like Luther van Drus I'm not

2156
01:35:00,840 --> 01:35:03,320
Speaker 3: gonna sing it like Gladys Night. I'm not gonna so therefore,

2157
01:35:04,000 --> 01:35:05,840
Speaker 3: take that away from the plan. I ain't gonna get

2158
01:35:05,840 --> 01:35:08,960
Speaker 3: like Marvi. Take that out the puzzle. The people who

2159
01:35:09,000 --> 01:35:10,920
Speaker 3: played way too many notes and way too much jazz

2160
01:35:10,960 --> 01:35:13,479
Speaker 3: at which I could have done, they never got on

2161
01:35:13,560 --> 01:35:15,760
Speaker 3: top forty radio, So take that out the mix, right,

2162
01:35:16,000 --> 01:35:18,679
Speaker 3: can't do that. Now you got the musical genius guys,

2163
01:35:18,720 --> 01:35:20,400
Speaker 3: the Stevie Wonders and all that kind of stuff. They

2164
01:35:20,400 --> 01:35:23,320
Speaker 3: can figure out complex chords Maurice White Earth and find

2165
01:35:23,360 --> 01:35:26,360
Speaker 3: it somehow get back to another chord eighty chords later

2166
01:35:26,439 --> 01:35:28,519
Speaker 3: and it still works on the radio. Steely Dan, I

2167
01:35:28,600 --> 01:35:30,559
Speaker 3: don't know what they're doing. I don't understand that. Take

2168
01:35:30,600 --> 01:35:33,240
Speaker 3: that out the mix. So now you left with my

2169
01:35:33,439 --> 01:35:36,880
Speaker 3: hero that I try to patter myself off of on

2170
01:35:36,960 --> 01:35:40,800
Speaker 3: the first record, Casey in the Sunshine Man. Wow, this

2171
01:35:40,960 --> 01:35:44,559
Speaker 3: came out of wow. But you are right. I don't

2172
01:35:44,560 --> 01:35:46,240
Speaker 3: want you all to go to sleep. I'm trying to

2173
01:35:46,320 --> 01:35:50,960
Speaker 3: keep you awake. I heard k C sing get Down Tonight, right,

2174
01:35:51,280 --> 01:35:53,720
Speaker 3: it was a number one record. It was jamming the

2175
01:35:54,000 --> 01:35:56,880
Speaker 3: people up dancing, and I said, he's singing two notes.

2176
01:35:57,320 --> 01:36:02,160
Speaker 3: Do a little dance, meg, a little love, get down today,

2177
01:36:02,240 --> 01:36:04,880
Speaker 3: even the verse honey, honey, me and you and every

2178
01:36:04,960 --> 01:36:08,800
Speaker 3: now and then woo woo woo woo woo. That was

2179
01:36:08,840 --> 01:36:11,519
Speaker 3: the big one, but everything else fade out there to do,

2180
01:36:13,080 --> 01:36:13,240
Speaker 3: you know?

2181
01:36:13,320 --> 01:36:14,000
Speaker 1: And I thought about it.

2182
01:36:14,000 --> 01:36:16,479
Speaker 3: I said, well, you know what, he ain't singing all

2183
01:36:16,520 --> 01:36:18,080
Speaker 3: the notes like everybody else.

2184
01:36:18,120 --> 01:36:19,960
Speaker 1: He's got to hit. I could do that.

2185
01:36:20,680 --> 01:36:22,280
Speaker 3: I may not be able to do that gladys Night,

2186
01:36:22,320 --> 01:36:24,880
Speaker 3: but I can do that. And so I said, you know,

2187
01:36:24,920 --> 01:36:26,800
Speaker 3: there's gotta be a where you just gotta channel it

2188
01:36:26,920 --> 01:36:29,560
Speaker 3: right to get those simple chords and to get it

2189
01:36:29,640 --> 01:36:32,800
Speaker 3: to move in such a way that it's comfortable for you,

2190
01:36:33,320 --> 01:36:35,120
Speaker 3: which I think Mick Jagger and a whole bunch of

2191
01:36:35,120 --> 01:36:37,559
Speaker 3: other people have really done, really really well. They figured

2192
01:36:37,600 --> 01:36:40,519
Speaker 3: out their style, their sound, and just play those chords

2193
01:36:40,600 --> 01:36:41,080
Speaker 3: that work for you.

2194
01:36:41,400 --> 01:36:45,920
Speaker 5: Man, the things you learned on question only on I

2195
01:36:46,000 --> 01:36:47,920
Speaker 5: never I wouldn't have put that one together as well,

2196
01:36:48,000 --> 01:36:48,559
Speaker 5: two notes.

2197
01:36:48,720 --> 01:36:56,240
Speaker 1: But you're making absolute sense both off. My career is

2198
01:36:56,320 --> 01:37:00,719
Speaker 1: not ship, man, I got add.

2199
01:37:00,880 --> 01:37:03,360
Speaker 3: Life to it, that's right. And the lyric thing for me,

2200
01:37:03,479 --> 01:37:05,840
Speaker 3: which we were talking about, I'll never forget. If a

2201
01:37:05,880 --> 01:37:07,960
Speaker 3: couple of companies I went to early on they kept

2202
01:37:08,000 --> 01:37:10,240
Speaker 3: saying your lyrics suck. I got tired of hearing your

2203
01:37:10,280 --> 01:37:13,320
Speaker 3: lyrics suck. So I started period when I was like

2204
01:37:13,800 --> 01:37:16,240
Speaker 3: eighteen nineteen years old. They kept saying your lyrics suck.

2205
01:37:16,280 --> 01:37:18,439
Speaker 3: Your lyrics suck, you know, And I said, you know what,

2206
01:37:18,720 --> 01:37:21,479
Speaker 3: I already got the music thing. I'm gonna work on

2207
01:37:21,520 --> 01:37:24,120
Speaker 3: this lyric thing, listener. So I started listening to Like

2208
01:37:24,240 --> 01:37:26,680
Speaker 3: Me and Missus Jones from a whole new standpoint. When

2209
01:37:26,680 --> 01:37:28,559
Speaker 3: I heard it was a kid, I heard the orchestra

2210
01:37:28,640 --> 01:37:32,560
Speaker 3: bump bub bu bu. But but but I said, this

2211
01:37:32,600 --> 01:37:35,400
Speaker 3: sounds like Lawrence welk, what are they doing in Philadelphia?

2212
01:37:35,439 --> 01:37:35,519
Speaker 4: You know?

2213
01:37:35,960 --> 01:37:39,920
Speaker 3: Then I never heard we needed the same cafe every day.

2214
01:37:39,920 --> 01:37:41,800
Speaker 3: I mean, I was just too young to get it,

2215
01:37:41,920 --> 01:37:43,840
Speaker 3: you know. Then I started listening to the songs like

2216
01:37:44,120 --> 01:37:46,320
Speaker 3: I saw the hell of the story, No Mo Didy like.

2217
01:37:46,400 --> 01:37:46,640
Speaker 2: That, you know.

2218
01:37:46,880 --> 01:37:48,600
Speaker 3: I re listened to Let's Get It On. I was

2219
01:37:48,720 --> 01:37:50,600
Speaker 3: listening to a different way that was going, and it

2220
01:37:50,680 --> 01:37:52,880
Speaker 3: seemed like all the songs had deeper meaning to me,

2221
01:37:53,640 --> 01:37:57,960
Speaker 3: especially the hollandoja holland songs okay, which they always had

2222
01:37:58,040 --> 01:38:00,559
Speaker 3: nursery rhymes and they tongue in cheek. If you could

2223
01:38:00,560 --> 01:38:02,880
Speaker 3: beat me rocking. You can have my chair feed five

2224
01:38:02,960 --> 01:38:05,400
Speaker 3: four fun. I can smell the presence of somebody, you know,

2225
01:38:05,479 --> 01:38:08,599
Speaker 3: somebody else's been sleeping in exposure. What was their secret

2226
01:38:08,680 --> 01:38:12,120
Speaker 3: to did they tell you our formula is? Well, they

2227
01:38:12,120 --> 01:38:14,000
Speaker 3: ain't had no for hi. First of all, Lamont and

2228
01:38:14,120 --> 01:38:15,960
Speaker 3: Brian and they get in the week. They said, they

2229
01:38:16,080 --> 01:38:18,040
Speaker 3: just go, you know, sit in the house for two

2230
01:38:18,120 --> 01:38:19,720
Speaker 3: or three hours and write four or five hits and

2231
01:38:19,800 --> 01:38:20,560
Speaker 3: be done with it. You know.

2232
01:38:23,560 --> 01:38:25,160
Speaker 1: That's what I said. That's what I said.

2233
01:38:25,280 --> 01:38:27,640
Speaker 3: I said, it ain't a lot of encouragement. Lama I down.

2234
01:38:28,560 --> 01:38:30,720
Speaker 3: They sitting down. Brian had the classical stuff, so that's

2235
01:38:30,760 --> 01:38:33,240
Speaker 3: him putting on them classical chords. Lama would come up

2236
01:38:33,240 --> 01:38:35,799
Speaker 3: with ridiculous lyrics, and Eddie did a little bit of everything,

2237
01:38:35,920 --> 01:38:37,840
Speaker 3: you know, so he had stuff. But they do really

2238
01:38:37,920 --> 01:38:39,360
Speaker 3: just sit down and say, well, you know, Barry called

2239
01:38:39,400 --> 01:38:41,240
Speaker 3: us up, said we need one on the four times

2240
01:38:41,240 --> 01:38:43,040
Speaker 3: with on dyn Ross. You know, we know it's a

2241
01:38:43,080 --> 01:38:45,439
Speaker 3: big meeting with smoking everybody there. So we just write

2242
01:38:45,479 --> 01:38:47,920
Speaker 3: four five up, you know, not that, and then we

2243
01:38:48,040 --> 01:38:49,320
Speaker 3: go back to the rest of what we're doing.

2244
01:38:49,560 --> 01:38:49,840
Speaker 1: He said.

2245
01:38:49,880 --> 01:38:51,560
Speaker 3: The records were coming in so fast, they were just

2246
01:38:51,600 --> 01:38:54,160
Speaker 3: giving them out to their friends, you know, said Gold Records.

2247
01:38:54,160 --> 01:38:56,080
Speaker 3: They would come every weekend. We just get rid of them,

2248
01:38:56,640 --> 01:38:59,760
Speaker 3: get out of the house. So there's and again that's

2249
01:38:59,800 --> 01:39:02,640
Speaker 3: a different group. Now Prince was in that group. You know,

2250
01:39:02,800 --> 01:39:04,160
Speaker 3: we have a men and him would have a lot

2251
01:39:04,200 --> 01:39:06,280
Speaker 3: of dead space on the phone because I call him

2252
01:39:06,320 --> 01:39:08,680
Speaker 3: up and I'm cutting a woman. He's loft and I know,

2253
01:39:08,760 --> 01:39:10,559
Speaker 3: I got a smash. I'm working on this album. I'm

2254
01:39:10,560 --> 01:39:12,360
Speaker 3: polishing and I'm getting it right. And then he'd be

2255
01:39:12,479 --> 01:39:14,240
Speaker 3: talking about, you know, I cut twelve So he's talking

2256
01:39:14,240 --> 01:39:17,519
Speaker 3: about he cut eighty songs. So we sitting on the

2257
01:39:17,560 --> 01:39:20,320
Speaker 3: phone and I'm like thinking myself, hell you do that

2258
01:39:20,439 --> 01:39:22,479
Speaker 3: for why don't you just cut ten good ones? You know,

2259
01:39:23,160 --> 01:39:25,639
Speaker 3: when controversy was out, he sent me all the nineteen

2260
01:39:25,720 --> 01:39:28,479
Speaker 3: ninety nine, all the Purple Rain and all of the time,

2261
01:39:28,880 --> 01:39:32,120
Speaker 3: all of the girls. I got all this music. I'm like,

2262
01:39:32,600 --> 01:39:35,519
Speaker 3: what the heck is this right? He says, He says,

2263
01:39:35,600 --> 01:39:37,560
Speaker 3: he says, well, a nineteen ninety nine album is a

2264
01:39:37,640 --> 01:39:40,439
Speaker 3: double pack album. I said, why you that double pack album?

2265
01:39:40,439 --> 01:39:42,320
Speaker 3: Nobody's buying that from no black folks at the time.

2266
01:39:42,360 --> 01:39:44,040
Speaker 3: You can't tell it. He says, and I'm gonna sell

2267
01:39:44,080 --> 01:39:46,880
Speaker 3: it at this regular price. He says, I just Warner

2268
01:39:46,920 --> 01:39:48,960
Speaker 3: Brothers taking them too long to put the records out.

2269
01:39:49,080 --> 01:39:50,439
Speaker 3: I don't want the stuff to get old, so I

2270
01:39:50,479 --> 01:39:52,639
Speaker 3: got to just put them in the record. He say, said,

2271
01:39:52,680 --> 01:39:54,599
Speaker 3: I got the second record. So he's trying to work,

2272
01:39:54,600 --> 01:39:56,360
Speaker 3: and he says, this is the movie. So he's trying

2273
01:39:56,400 --> 01:40:00,320
Speaker 3: to do the movie when controversy just came out. It

2274
01:40:00,320 --> 01:40:02,360
Speaker 3: ain't nobody even heard in nineteen ninety nine. Yea, And

2275
01:40:02,400 --> 01:40:04,320
Speaker 3: I'm like, I like that little red Corvette song, But

2276
01:40:04,520 --> 01:40:05,040
Speaker 3: but what's this?

2277
01:40:05,360 --> 01:40:05,519
Speaker 1: You know?

2278
01:40:05,880 --> 01:40:07,960
Speaker 3: Down here? Do Doo do do do doo doo dooo. Dude,

2279
01:40:08,000 --> 01:40:09,080
Speaker 3: I'm like, what the heck is that?

2280
01:40:09,280 --> 01:40:09,439
Speaker 1: You know?

2281
01:40:09,800 --> 01:40:13,200
Speaker 3: So he would just write that many songs, you know,

2282
01:40:13,320 --> 01:40:16,439
Speaker 3: then it became apparent to me later. You know, I

2283
01:40:16,560 --> 01:40:20,080
Speaker 3: think I was Soliarity and he was Mozart.

2284
01:40:21,600 --> 01:40:23,840
Speaker 1: You know, you get that. I watched the movie.

2285
01:40:23,880 --> 01:40:27,160
Speaker 3: I was like, ah, feels familiar there, and you know,

2286
01:40:27,479 --> 01:40:30,639
Speaker 3: I forget. You know, there was one time, like Hollando Johanna,

2287
01:40:30,680 --> 01:40:33,559
Speaker 3: the same thing. There's one time he went to Rio

2288
01:40:34,640 --> 01:40:36,640
Speaker 3: and he wont the piano at the top floor, so

2289
01:40:37,000 --> 01:40:39,120
Speaker 3: they took a helicopter flew the piano and knocked the

2290
01:40:39,160 --> 01:40:43,080
Speaker 3: windows out. We heard, yeah the windows up.

2291
01:40:43,160 --> 01:40:43,519
Speaker 1: Yeah yeah.

2292
01:40:44,120 --> 01:40:46,160
Speaker 3: So he's supposed to be there week doing whatever. He

2293
01:40:46,240 --> 01:40:48,519
Speaker 3: stays a week and they knocked, They tear the knock

2294
01:40:48,560 --> 01:40:50,240
Speaker 3: it out, take the piano. He comes back and say,

2295
01:40:50,320 --> 01:40:51,720
Speaker 3: I wrote a couple of albums.

2296
01:40:52,479 --> 01:40:52,880
Speaker 1: So you know what?

2297
01:40:53,479 --> 01:40:55,720
Speaker 3: And how about this? It sounds crazy, but if that

2298
01:40:55,880 --> 01:40:58,040
Speaker 3: motivated you to write a couple of albums, I wish

2299
01:40:58,080 --> 01:40:59,640
Speaker 3: I could. I knocked the windows out if you can

2300
01:40:59,680 --> 01:41:01,920
Speaker 3: get me two smash albums. You know, even a good

2301
01:41:01,920 --> 01:41:04,720
Speaker 3: friend of mine who just died, Rod Temperton, always said

2302
01:41:04,840 --> 01:41:07,120
Speaker 3: he don't write nothing unless he's at his apartment on

2303
01:41:07,200 --> 01:41:08,519
Speaker 3: the freeway in worms, Germany.

2304
01:41:08,720 --> 01:41:10,599
Speaker 1: This is Quest Love, Supreme Ware and Pandora. And if

2305
01:41:10,640 --> 01:41:13,640
Speaker 1: you're just tuning in, we're into hour three with our

2306
01:41:13,640 --> 01:41:16,479
Speaker 1: special guest Ray Parker Jr. And we're talking about the

2307
01:41:16,600 --> 01:41:19,240
Speaker 1: process for finding the right lyrics for a hit song.

2308
01:41:19,680 --> 01:41:21,080
Speaker 1: So where's your sweet spot?

2309
01:41:21,200 --> 01:41:21,240
Speaker 4: Like?

2310
01:41:21,280 --> 01:41:22,880
Speaker 1: Where did these hits come from? Where do you have

2311
01:41:23,040 --> 01:41:23,160
Speaker 1: to be?

2312
01:41:23,360 --> 01:41:24,360
Speaker 3: I started with the lyrics.

2313
01:41:24,920 --> 01:41:25,880
Speaker 1: I like a good story.

2314
01:41:26,120 --> 01:41:28,040
Speaker 3: You could be telling me about you and your old lady,

2315
01:41:28,280 --> 01:41:30,320
Speaker 3: and you could let something slip out and I go, oh.

2316
01:41:32,320 --> 01:41:34,360
Speaker 1: So you're sourcing information from your friends. Ye.

2317
01:41:34,439 --> 01:41:35,839
Speaker 3: I don't like to be singing about myself.

2318
01:41:35,920 --> 01:41:36,439
Speaker 1: That ain't good.

2319
01:41:37,720 --> 01:41:39,200
Speaker 3: It's like taking your underwear down in.

2320
01:41:39,200 --> 01:41:39,760
Speaker 1: Public, you know.

2321
01:41:40,160 --> 01:41:42,960
Speaker 3: I like to expose, you know, especially if you put

2322
01:41:42,960 --> 01:41:44,920
Speaker 3: two or three relationships together, you can see a path

2323
01:41:44,960 --> 01:41:47,280
Speaker 3: in the pocket. Then I take that. Oh yeah, we're

2324
01:41:47,280 --> 01:41:49,840
Speaker 3: going with this because like a woman needs love. I

2325
01:41:49,920 --> 01:41:51,680
Speaker 3: don't even know how much of that I wrote. I mean,

2326
01:41:51,680 --> 01:41:55,600
Speaker 3: I had five girls in the studio, and while I

2327
01:41:55,680 --> 01:41:58,320
Speaker 3: went out to start how about this, I came back.

2328
01:41:58,360 --> 01:42:01,400
Speaker 3: I'm sitting at the board and they're just gossip. Yeah, honey,

2329
01:42:01,640 --> 01:42:03,960
Speaker 3: he got things coming. If you can think that, that's

2330
01:42:03,960 --> 01:42:05,840
Speaker 3: the way things used to be. You know, you can

2331
01:42:05,880 --> 01:42:07,360
Speaker 3: hear him talking about you know, back in the day.

2332
01:42:07,640 --> 01:42:10,200
Speaker 3: Back in the day, you know got to me. I

2333
01:42:10,320 --> 01:42:12,200
Speaker 3: used to tell people, don't tell nobody, don't tell noybody.

2334
01:42:12,280 --> 01:42:13,960
Speaker 3: Now I don't care if you're tell or nothing. If

2335
01:42:14,000 --> 01:42:16,320
Speaker 3: he could do it, I can get me some too. Now,

2336
01:42:16,360 --> 01:42:17,840
Speaker 3: you know, he getting I'm getting it. I was like,

2337
01:42:18,280 --> 01:42:20,479
Speaker 3: look at this, And then Gloria already was on the

2338
01:42:20,560 --> 01:42:22,840
Speaker 3: news at the time. All this stuff is going. She

2339
01:42:22,920 --> 01:42:28,439
Speaker 3: was a studio but the girls were writing the song.

2340
01:42:28,520 --> 01:42:31,000
Speaker 3: They were talking about tigns of change, things ain't the same.

2341
01:42:31,080 --> 01:42:35,040
Speaker 3: I'm like, oh, no longer will we be taking Oh

2342
01:42:35,120 --> 01:42:37,760
Speaker 3: I like that? Yeah, And one girl's like, yeah, yeah, yeah,

2343
01:42:37,800 --> 01:42:39,360
Speaker 3: he could do that if you want to come and

2344
01:42:39,760 --> 01:42:41,960
Speaker 3: leave me, come home and get his feelings her.

2345
01:42:42,000 --> 01:42:42,960
Speaker 1: I said, oh, I like that.

2346
01:42:43,840 --> 01:42:48,519
Speaker 3: One day you come from work, you're feeling her. I

2347
01:42:48,640 --> 01:42:51,479
Speaker 3: just imagining the thing together. No longer will the women

2348
01:42:51,560 --> 01:42:53,720
Speaker 3: are today be accepted that All of a sudden, I said,

2349
01:42:53,760 --> 01:42:56,160
Speaker 3: this is it. It's a song. This is it, you know,

2350
01:42:56,800 --> 01:42:58,400
Speaker 3: And I tell you the biggest thing in the song,

2351
01:42:58,520 --> 01:43:01,280
Speaker 3: And this is why women are so sensitive to the lyrics.

2352
01:43:01,960 --> 01:43:04,560
Speaker 3: I said, she will fool around just like you do.

2353
01:43:05,160 --> 01:43:08,479
Speaker 3: Was not a hit, didn't work. She will fool around

2354
01:43:08,560 --> 01:43:10,599
Speaker 3: meant that she was. She will fool around. That's wrong.

2355
01:43:10,920 --> 01:43:13,200
Speaker 1: She can fool around. She has the option to.

2356
01:43:13,560 --> 01:43:15,400
Speaker 3: She has the option to. Let me tell you when

2357
01:43:15,439 --> 01:43:17,800
Speaker 3: I changed this, she will so she can.

2358
01:43:18,439 --> 01:43:20,160
Speaker 1: All the girls smiled in the studio.

2359
01:43:20,840 --> 01:43:21,719
Speaker 6: You gave us the option.

2360
01:43:22,160 --> 01:43:24,560
Speaker 3: If I had said she will on the radio, I

2361
01:43:24,600 --> 01:43:26,200
Speaker 3: don't even know if that would have worked. But when

2362
01:43:26,240 --> 01:43:28,639
Speaker 3: I went to she can, it was a crowd pleaser.

2363
01:43:29,560 --> 01:43:30,680
Speaker 3: All the girls are like, what do you mean she

2364
01:43:30,800 --> 01:43:33,080
Speaker 3: will fool around? I was like, well, you know, I'm

2365
01:43:33,080 --> 01:43:35,800
Speaker 3: trying to say that she can't to his can over

2366
01:43:35,840 --> 01:43:38,080
Speaker 3: that work all the girls whatever, so that she can.

2367
01:43:38,360 --> 01:43:40,800
Speaker 3: And I was like, really, y'all, just over one word,

2368
01:43:40,880 --> 01:43:47,240
Speaker 3: I either got to she can, mean you did it.

2369
01:43:47,800 --> 01:43:48,840
Speaker 3: It puts it back on you.

2370
01:43:49,400 --> 01:43:49,800
Speaker 1: You did it.

2371
01:43:50,240 --> 01:43:52,479
Speaker 3: If she will, she's already doing it. And you know what,

2372
01:43:52,600 --> 01:43:55,400
Speaker 3: I at that point in my life, all my songs

2373
01:43:55,439 --> 01:43:59,160
Speaker 3: were so beautiful and romantic, and the girls and everybody

2374
01:43:59,320 --> 01:44:00,960
Speaker 3: loved me. You know, I wanted to be the bad

2375
01:44:01,040 --> 01:44:01,599
Speaker 3: boy a little bit.

2376
01:44:01,720 --> 01:44:03,720
Speaker 6: Now, I just you know, it helps them.

2377
01:44:04,160 --> 01:44:06,560
Speaker 3: I just you told I wanted to show just a

2378
01:44:06,600 --> 01:44:08,840
Speaker 3: little other side. I mean it's like, you know, yeah,

2379
01:44:08,840 --> 01:44:09,240
Speaker 3: I got it.

2380
01:44:09,640 --> 01:44:13,120
Speaker 1: Did you feel a little pressure that, like, okay, it's

2381
01:44:13,200 --> 01:44:16,920
Speaker 1: nineteen eighty two. Times are changing, Like I better come

2382
01:44:17,000 --> 01:44:21,040
Speaker 1: out with some I mean, because you didn't even really

2383
01:44:21,120 --> 01:44:24,680
Speaker 1: feature your your your guitar mastery, let alone your rock

2384
01:44:24,720 --> 01:44:25,960
Speaker 1: guitar mastery.

2385
01:44:26,120 --> 01:44:28,920
Speaker 3: All that much on these records. You really contained but

2386
01:44:29,040 --> 01:44:31,320
Speaker 3: that song, yeah, it was because I want to make

2387
01:44:31,360 --> 01:44:34,400
Speaker 3: sure I wasn't a guitar on the record first. But

2388
01:44:34,520 --> 01:44:37,000
Speaker 3: I started saying, yeah, I could play a little more guitar.

2389
01:44:37,240 --> 01:44:39,640
Speaker 3: But I heard I tell you what inspired that song was.

2390
01:44:39,760 --> 01:44:43,880
Speaker 3: Rick Springfield had a tone called jess Girl, right, just

2391
01:44:44,080 --> 01:44:45,840
Speaker 3: I wish I had a girl like Jessic's girl, you know,

2392
01:44:46,040 --> 01:44:48,240
Speaker 3: And I thought that what a punk attitude that is.

2393
01:44:48,360 --> 01:44:50,280
Speaker 3: You know, I wish I had go take the bitch.

2394
01:44:58,680 --> 01:45:01,360
Speaker 3: I just thought that, ain't no, ain't the attitude.

2395
01:45:02,600 --> 01:45:03,040
Speaker 1: I wish.

2396
01:45:03,160 --> 01:45:05,240
Speaker 3: And he's sitting back dreaming about wishing when he hit

2397
01:45:05,280 --> 01:45:06,519
Speaker 3: what he had go get up it.

2398
01:45:06,680 --> 01:45:09,559
Speaker 5: But you kind of had that attitude as well. On Jamie,

2399
01:45:09,640 --> 01:45:12,679
Speaker 5: Well you you met it up saying she always minds.

2400
01:45:13,880 --> 01:45:16,400
Speaker 5: But he also said, like, you know, keep it to yourself,

2401
01:45:16,520 --> 01:45:21,120
Speaker 5: like I don't hear, like when you had to bust

2402
01:45:21,120 --> 01:45:21,640
Speaker 5: somebody up.

2403
01:45:22,640 --> 01:45:24,920
Speaker 3: I saw your lady the other day, but you know

2404
01:45:25,000 --> 01:45:27,519
Speaker 3: the other woman. I'm just the average guy, fool around

2405
01:45:27,520 --> 01:45:29,840
Speaker 3: a little on the side. Never thought it would him

2406
01:45:29,840 --> 01:45:33,280
Speaker 3: ount too much, never met a girl who was so tough. Now,

2407
01:45:33,360 --> 01:45:36,080
Speaker 3: who would have thought of one night stand could turn

2408
01:45:36,160 --> 01:45:39,680
Speaker 3: into such a hot romance. But when she did it

2409
01:45:39,760 --> 01:45:41,280
Speaker 3: to me, I slept and fell in love. I mean,

2410
01:45:41,320 --> 01:45:46,680
Speaker 3: it was just a true statement. You know that, And

2411
01:45:46,720 --> 01:45:49,000
Speaker 3: then you know the reason I knew the rules of

2412
01:45:49,040 --> 01:45:52,599
Speaker 3: the game. You hit it once, breakaway clean. I should

2413
01:45:52,640 --> 01:45:55,439
Speaker 3: have never gone back, I know, but I had to

2414
01:45:55,640 --> 01:45:57,160
Speaker 3: have just a little bit.

2415
01:45:59,760 --> 01:46:01,360
Speaker 1: My friend.

2416
01:46:01,720 --> 01:46:04,840
Speaker 3: My friends laugh, and that's all right. I may be

2417
01:46:04,960 --> 01:46:08,160
Speaker 3: a fool, but I know what I like. I hate

2418
01:46:08,240 --> 01:46:11,439
Speaker 3: to have to cheat, but it feels better when that's sneak.

2419
01:46:15,320 --> 01:46:15,639
Speaker 1: Okay.

2420
01:46:16,360 --> 01:46:19,679
Speaker 3: Then the dender line Clive Davis likes, Oh, this affair

2421
01:46:19,760 --> 01:46:22,639
Speaker 3: is unique. All my life, I never met such a freak.

2422
01:46:23,080 --> 01:46:25,680
Speaker 3: And she keeps me going strong for so long that

2423
01:46:25,760 --> 01:46:27,240
Speaker 3: by the time I get home.

2424
01:46:27,560 --> 01:46:28,519
Speaker 1: It's all gone.

2425
01:46:29,280 --> 01:46:32,280
Speaker 3: Makes me want to grab my guitar and play with it.

2426
01:46:32,400 --> 01:46:37,519
Speaker 1: All okay, So when you're taking this to clad, he

2427
01:46:37,680 --> 01:46:39,120
Speaker 1: heard that, it just went, oh that's it.

2428
01:46:40,280 --> 01:46:42,880
Speaker 3: I love that he heard that. He said, Oh, that's it,

2429
01:46:43,000 --> 01:46:44,320
Speaker 3: he says about it. By the time we got to

2430
01:46:44,360 --> 01:46:45,960
Speaker 3: make me want to grab my get he says, play

2431
01:46:45,960 --> 01:46:48,080
Speaker 3: it out again and want to play with it all

2432
01:46:48,160 --> 01:46:49,679
Speaker 3: night long. He says, oh, that's smash.

2433
01:46:49,840 --> 01:46:50,479
Speaker 1: But do you know what a.

2434
01:46:50,600 --> 01:46:51,680
Speaker 3: Unique position that is?

2435
01:46:52,160 --> 01:46:55,439
Speaker 1: Because the legend of Clive Davison being so hard to please,

2436
01:46:55,479 --> 01:46:58,360
Speaker 1: as far as I know him, knowing instantly when there's

2437
01:46:58,400 --> 01:47:03,120
Speaker 1: a hit like that's some rare rare ship to make

2438
01:47:03,240 --> 01:47:05,240
Speaker 1: him that enthused about anything.

2439
01:47:05,760 --> 01:47:08,879
Speaker 3: He loved Jack and Jill. It was his most enthusiast.

2440
01:47:08,960 --> 01:47:11,639
Speaker 3: He said, smash. He loved the woman these love, loved

2441
01:47:11,640 --> 01:47:14,439
Speaker 3: the other woman. He was not so into. Can't change

2442
01:47:14,479 --> 01:47:15,479
Speaker 3: that m hm.

2443
01:47:16,280 --> 01:47:17,160
Speaker 1: That was what he didn't like.

2444
01:47:17,240 --> 01:47:19,679
Speaker 3: He didn't liked that. He wasn't into that. In fact,

2445
01:47:19,720 --> 01:47:21,760
Speaker 3: that they were canning the whole album. He said, okay,

2446
01:47:21,840 --> 01:47:23,320
Speaker 3: pick one, we put it out. If it's a hit,

2447
01:47:23,360 --> 01:47:25,400
Speaker 3: we put the albount If not, go back and record.

2448
01:47:25,560 --> 01:47:27,160
Speaker 3: That was that kind of year, so you.

2449
01:47:27,240 --> 01:47:27,920
Speaker 1: Just turn change that.

2450
01:47:28,040 --> 01:47:29,240
Speaker 3: That's what got that album released.

2451
01:47:29,360 --> 01:47:29,519
Speaker 1: Yeah.

2452
01:47:29,920 --> 01:47:34,000
Speaker 3: But what was interesting, and and it's me bragging on Clive,

2453
01:47:34,439 --> 01:47:37,200
Speaker 3: is that he really did do the right thing. He said, okay,

2454
01:47:37,520 --> 01:47:39,360
Speaker 3: you you picked one, you think that's it, let's put

2455
01:47:39,400 --> 01:47:41,920
Speaker 3: it out. And he didn't like, let's teach him and

2456
01:47:42,000 --> 01:47:43,800
Speaker 3: not put no money behind all. He actually went and

2457
01:47:43,880 --> 01:47:45,920
Speaker 3: promoted and gave it it's all and the song blew

2458
01:47:46,000 --> 01:47:47,720
Speaker 3: up and he said, okay, was it? That's any of that?

2459
01:47:47,800 --> 01:47:49,720
Speaker 3: Put the album out. Another one he didn't really like

2460
01:47:49,800 --> 01:47:51,240
Speaker 3: that much was Ghostbusters.

2461
01:47:52,920 --> 01:47:53,200
Speaker 1: Wow.

2462
01:47:53,760 --> 01:47:55,240
Speaker 3: He said, you can take that to Giff and when

2463
01:47:55,280 --> 01:47:55,479
Speaker 3: you go.

2464
01:47:58,720 --> 01:48:02,120
Speaker 1: The shade rock corn album at all.

2465
01:48:02,960 --> 01:48:04,639
Speaker 3: No, he didn't like that. He wanted to start over.

2466
01:48:05,320 --> 01:48:08,160
Speaker 3: Really yeah, what didn't you like about it? Hen't like

2467
01:48:08,240 --> 01:48:12,360
Speaker 3: nothing about it. He didn't hear no hit like anything, nothing,

2468
01:48:12,400 --> 01:48:14,560
Speaker 3: And you know, there was everybody was because Jack and

2469
01:48:14,640 --> 01:48:16,960
Speaker 3: Jill was a novelty song. They thought it was, you know,

2470
01:48:17,720 --> 01:48:19,880
Speaker 3: and which I thought was Here's what I thought was funny.

2471
01:48:20,560 --> 01:48:24,080
Speaker 3: Lamon Dojan and McKinley Jackson were teasing me about writing

2472
01:48:24,120 --> 01:48:26,360
Speaker 3: a nursery right myself. But I learned it from you guys,

2473
01:48:29,160 --> 01:48:31,360
Speaker 3: you know, y'all the guys taught me how to wanted

2474
01:48:31,439 --> 01:48:33,599
Speaker 3: young man singling free of me. Y'all taught me this stuff.

2475
01:48:33,800 --> 01:48:36,519
Speaker 3: So I was writing imitating them, you know. So can

2476
01:48:36,560 --> 01:48:37,680
Speaker 3: I ask you when did you.

2477
01:48:38,600 --> 01:48:42,080
Speaker 1: Dissolve radio like and what was the range rem where

2478
01:48:42,080 --> 01:48:43,960
Speaker 1: you guys like, Okay, are we really a band.

2479
01:48:43,840 --> 01:48:45,640
Speaker 3: Or is it just like let's let's talk about that

2480
01:48:45,720 --> 01:48:47,600
Speaker 3: because that's fun. First of all, I love all the

2481
01:48:47,680 --> 01:48:49,920
Speaker 3: guys in the radio and we're best of friends today

2482
01:48:50,120 --> 01:48:52,479
Speaker 3: the ones that are left. And when I first put

2483
01:48:52,520 --> 01:48:55,080
Speaker 3: the band together, I was a young kid and I

2484
01:48:55,160 --> 01:48:57,160
Speaker 3: just wanted to split everything. Now even though it was

2485
01:48:57,240 --> 01:49:00,799
Speaker 3: my record deal, they were signing me. I had the studio,

2486
01:49:01,040 --> 01:49:02,400
Speaker 3: I paid all the money, I wrote a song. It

2487
01:49:02,400 --> 01:49:03,920
Speaker 3: didn't matter at me. I was like this, let's let's

2488
01:49:03,960 --> 01:49:05,880
Speaker 3: get five guy, let's split everything. That was my thing,

2489
01:49:06,240 --> 01:49:09,960
Speaker 3: good thing. God made sure that didn't happen. The band

2490
01:49:10,600 --> 01:49:13,120
Speaker 3: led by Jerry. The funny thing about Jerry Night he's

2491
01:49:13,120 --> 01:49:15,840
Speaker 3: the biggest trouble maker, but he was my best buddy

2492
01:49:16,400 --> 01:49:18,760
Speaker 3: and he would apologize for it later. He didn't hold back.

2493
01:49:18,800 --> 01:49:19,960
Speaker 3: He would say, man, I don't know why I did

2494
01:49:20,040 --> 01:49:21,920
Speaker 3: something that stupid. You know, he broke up with Jerry

2495
01:49:21,960 --> 01:49:24,240
Speaker 3: and Olive. But so the whole thing was Jerry was

2496
01:49:24,240 --> 01:49:25,920
Speaker 3: the first guy to put the pool the band again

2497
01:49:25,920 --> 01:49:27,600
Speaker 3: and say, look, we don't want to be signed to

2498
01:49:27,680 --> 01:49:31,000
Speaker 3: that white label Arista that has the Bay City Rollers

2499
01:49:31,040 --> 01:49:32,599
Speaker 3: and Barry Man. We don't want to be signed. Why

2500
01:49:32,600 --> 01:49:34,799
Speaker 3: don't you sign? We just want to get paid a salary.

2501
01:49:35,680 --> 01:49:39,280
Speaker 3: So that took me off of to split the money thing. Wait,

2502
01:49:40,120 --> 01:49:42,960
Speaker 3: that was his words, that was their words. They all

2503
01:49:43,000 --> 01:49:44,160
Speaker 3: collectively got together.

2504
01:49:44,680 --> 01:49:47,040
Speaker 1: Well, what was another option for them?

2505
01:49:47,439 --> 01:49:50,240
Speaker 3: The option for them was to sign the record they

2506
01:49:50,280 --> 01:49:52,639
Speaker 3: only take one fifth and one piece of the band.

2507
01:49:52,960 --> 01:49:55,160
Speaker 3: They didn't want to do that. They didn't want no

2508
01:49:55,200 --> 01:49:58,840
Speaker 3: piece of the band. They want cash, and I'm sure

2509
01:49:58,880 --> 01:50:02,880
Speaker 3: either the big picture the final was spearhead by Jerry.

2510
01:50:02,880 --> 01:50:04,320
Speaker 3: I tried to talk him out of it. They weren't

2511
01:50:04,320 --> 01:50:07,040
Speaker 3: hearing it. They all wanted money, and they wanted money

2512
01:50:07,080 --> 01:50:08,960
Speaker 3: I didn't have. I think they wanted five hundred dollars

2513
01:50:09,000 --> 01:50:10,600
Speaker 3: a week on tour or something like that, and me

2514
01:50:10,720 --> 01:50:13,760
Speaker 3: by the instrument. So I went and borrowed like two

2515
01:50:13,840 --> 01:50:16,760
Speaker 3: hundred grand from tour support from Ariston to pay these

2516
01:50:16,800 --> 01:50:19,000
Speaker 3: guys ahead of time. Because the record has just came out.

2517
01:50:19,040 --> 01:50:22,160
Speaker 3: I had no money. And what was interesting is when

2518
01:50:22,240 --> 01:50:25,600
Speaker 3: the record hit, the single went goal, album went go

2519
01:50:26,439 --> 01:50:28,760
Speaker 3: Jack and Jail album went gold in London. Now we're

2520
01:50:28,760 --> 01:50:31,760
Speaker 3: playing Hammersmith Ody in London and I go out with

2521
01:50:31,920 --> 01:50:34,519
Speaker 3: the head of the British company, right, and then we

2522
01:50:34,640 --> 01:50:37,240
Speaker 3: go out to some club and he's saying, yeah, man,

2523
01:50:37,320 --> 01:50:39,120
Speaker 3: things are gonna grasp the man. Life couldn't be better.

2524
01:50:39,240 --> 01:50:41,560
Speaker 3: It's just like a dream come true. He says, well, so,

2525
01:50:41,640 --> 01:50:43,040
Speaker 3: I don't know how to tell this, but your band

2526
01:50:43,120 --> 01:50:47,000
Speaker 3: wants a separate deal without you because they had met

2527
01:50:47,160 --> 01:50:49,599
Speaker 3: some British producers. I forgot who he was inspiring them

2528
01:50:49,640 --> 01:50:51,680
Speaker 3: to leave some of your guys, he said, some of

2529
01:50:51,760 --> 01:50:55,479
Speaker 3: your guys are leaving. And I'm like, I'm looking, this

2530
01:50:55,560 --> 01:50:58,799
Speaker 3: is what is the president? The President of England, not Clyde,

2531
01:50:58,840 --> 01:51:00,639
Speaker 3: but the President of England. British up and he's speaking

2532
01:51:00,680 --> 01:51:03,240
Speaker 3: of British accent. I'm like, he thinks something. He thinks

2533
01:51:03,280 --> 01:51:05,400
Speaker 3: black people all look the same. He thinks somebody else?

2534
01:51:05,600 --> 01:51:08,680
Speaker 3: What's he talking about? Right then he names the names. Man,

2535
01:51:08,720 --> 01:51:10,439
Speaker 3: I was about to cry so hired again. I had

2536
01:51:10,479 --> 01:51:13,320
Speaker 3: to get up and go to bathroom. I had to

2537
01:51:13,360 --> 01:51:15,960
Speaker 3: get him go to the bathroom. I'm choking. I had

2538
01:51:15,960 --> 01:51:18,320
Speaker 3: to go recompose myself and come back tell me what

2539
01:51:18,479 --> 01:51:20,720
Speaker 3: you just said again. I couldn't wait to get back

2540
01:51:20,720 --> 01:51:22,760
Speaker 3: to the hotel. So then we have our blowout meeting

2541
01:51:22,800 --> 01:51:25,000
Speaker 3: at the hotel and I'm sitting with the guys. I'm

2542
01:51:25,000 --> 01:51:27,120
Speaker 3: saying what I said, what is this that you want

2543
01:51:27,160 --> 01:51:29,000
Speaker 3: to deal by yourself? What is the what are you doing?

2544
01:51:29,320 --> 01:51:31,560
Speaker 3: Then it all came out, well, you're getting all the

2545
01:51:31,640 --> 01:51:34,160
Speaker 3: royalties and we get nothing. I said, you're getting the

2546
01:51:34,240 --> 01:51:36,519
Speaker 3: money you asked for that I borrowed and I'm still

2547
01:51:36,600 --> 01:51:39,360
Speaker 3: paying off on the last tour all the money that

2548
01:51:39,439 --> 01:51:41,200
Speaker 3: you took, and you took the keyboard, threw it off

2549
01:51:41,240 --> 01:51:43,360
Speaker 3: the stage. That was three grand of my money, you know.

2550
01:51:43,479 --> 01:51:44,960
Speaker 3: And I bought all the instruments.

2551
01:51:44,840 --> 01:51:46,320
Speaker 1: Off the stage, threw it off the stage.

2552
01:51:46,880 --> 01:51:50,360
Speaker 3: All who they must have saw the movie or something,

2553
01:51:51,000 --> 01:51:53,200
Speaker 3: you know, So it was interesting. And then you know,

2554
01:51:53,360 --> 01:51:56,280
Speaker 3: Jerry looked at him and said, no, he's made five

2555
01:51:56,360 --> 01:52:00,280
Speaker 3: million on NET on the tour, five million on the

2556
01:52:00,320 --> 01:52:02,360
Speaker 3: first two. They were eating popcorn when we were playing,

2557
01:52:02,400 --> 01:52:04,680
Speaker 3: you know. But he thought I made five million net

2558
01:52:04,720 --> 01:52:06,400
Speaker 3: on the tour and another five men on the album.

2559
01:52:06,400 --> 01:52:09,280
Speaker 3: I was like, really, because I'm in the whole right

2560
01:52:09,800 --> 01:52:13,920
Speaker 3: surface above and it wasn't so immediately three guys in

2561
01:52:14,000 --> 01:52:16,760
Speaker 3: the band quit right after the first album. And think

2562
01:52:16,760 --> 01:52:21,360
Speaker 3: it was Charles, Jerry, and one Vincent and Vincent wasn't

2563
01:52:21,360 --> 01:52:23,320
Speaker 3: even studio guy. I said, please don't leave, Vincent, you know,

2564
01:52:23,720 --> 01:52:25,240
Speaker 3: they can't use in the studio. Not gonna do anything.

2565
01:52:25,360 --> 01:52:27,240
Speaker 3: Don't worry. We going with Jerry. Jerry's gonna sign in

2566
01:52:27,320 --> 01:52:28,800
Speaker 3: to a deal. Well, Jerry got a deal and didn't

2567
01:52:28,800 --> 01:52:29,639
Speaker 3: sign none of the guys.

2568
01:52:30,439 --> 01:52:33,920
Speaker 1: So they're on Overnight Sensation, none of the Jerry Jointed.

2569
01:52:34,200 --> 01:52:36,600
Speaker 3: They're not on none of that stuff, none of that

2570
01:52:36,800 --> 01:52:42,960
Speaker 3: and so Jerry, Jerry got in with Don curshion Bum.

2571
01:52:44,000 --> 01:52:44,759
Speaker 1: Yeah, the producer.

2572
01:52:44,960 --> 01:52:47,040
Speaker 3: Was it brainstorm? Was he I'm messing him. I'm messing

2573
01:52:47,120 --> 01:52:50,360
Speaker 3: up to name. But that's the Don not Curshionbaum. Yeah,

2574
01:52:50,520 --> 01:52:51,360
Speaker 3: David Kirshenbaum.

2575
01:52:51,400 --> 01:52:51,760
Speaker 1: I'm sorry.

2576
01:52:52,320 --> 01:52:54,000
Speaker 3: And he had cut a rock and roll record, so

2577
01:52:54,320 --> 01:52:56,040
Speaker 3: you know then, but Jerry came out here. Man, I'm

2578
01:52:56,080 --> 01:52:57,720
Speaker 3: sorry to this. So I looked at Jerry. I said,

2579
01:52:57,720 --> 01:53:01,320
Speaker 3: you know, Jerry, this is nineteen seventy whatever. I said,

2580
01:53:01,680 --> 01:53:03,560
Speaker 3: you heard a crossover. You got get on R and

2581
01:53:03,640 --> 01:53:05,920
Speaker 3: B radio first figure top for the radio, sayce thing,

2582
01:53:06,000 --> 01:53:07,000
Speaker 3: he'll play none of this stuff.

2583
01:53:07,280 --> 01:53:07,519
Speaker 1: Okay.

2584
01:53:07,800 --> 01:53:09,080
Speaker 3: So I talked to him in the cutting over a

2585
01:53:09,160 --> 01:53:11,280
Speaker 3: nice sensation because he didn't have that on the album.

2586
01:53:11,640 --> 01:53:13,160
Speaker 1: I always thought that was a radio record.

2587
01:53:13,439 --> 01:53:14,960
Speaker 3: Of course, it sounds like a radio record.

2588
01:53:16,640 --> 01:53:17,040
Speaker 1: How about this.

2589
01:53:17,120 --> 01:53:18,840
Speaker 3: Even though he broke up the band, I'm still trying

2590
01:53:18,880 --> 01:53:20,960
Speaker 3: to save his but right, I said, man, look the

2591
01:53:21,080 --> 01:53:23,080
Speaker 3: record you played me. Ain't nobody playing that? It was

2592
01:53:23,120 --> 01:53:24,519
Speaker 3: all rock and roll. I said, you need to cut.

2593
01:53:24,720 --> 01:53:26,720
Speaker 3: Why don't you cut one and stick it on the

2594
01:53:26,760 --> 01:53:28,599
Speaker 3: back and see what you know? And the one record

2595
01:53:28,680 --> 01:53:30,719
Speaker 3: was over nice sensation. That saved him. Then we started

2596
01:53:30,800 --> 01:53:33,679
Speaker 3: Ray Parker Junion Radio. And then when I think another

2597
01:53:33,760 --> 01:53:35,640
Speaker 3: guy left and Clive just said, that's enough, all this

2598
01:53:35,720 --> 01:53:37,519
Speaker 3: personnel change. We're going to rape Parker Jr.

2599
01:53:37,600 --> 01:53:40,000
Speaker 1: That's it. So he switched it like that.

2600
01:53:40,560 --> 01:53:44,200
Speaker 3: But in the meantime, after Jerry messed up his album,

2601
01:53:44,280 --> 01:53:45,760
Speaker 3: then he got out and he didn't hire none of

2602
01:53:45,800 --> 01:53:47,160
Speaker 3: the guys in the band, so they were left in

2603
01:53:47,200 --> 01:53:49,240
Speaker 3: the cold. Man so they didn't have my gig, and.

2604
01:53:49,280 --> 01:53:49,759
Speaker 1: They didn't.

2605
01:53:51,200 --> 01:53:54,080
Speaker 3: The leader is like for them, it was terrible. They

2606
01:53:54,160 --> 01:53:56,600
Speaker 3: never recovered, you know. So the leader left them in

2607
01:53:56,680 --> 01:53:59,880
Speaker 3: the coal and the next thing was was hooking g

2608
01:54:00,040 --> 01:54:02,439
Speaker 3: Area up with Oli, you know. So I got those

2609
01:54:02,479 --> 01:54:04,320
Speaker 3: two together and they looked out for him again with

2610
01:54:04,560 --> 01:54:07,280
Speaker 3: with and so him and Ali they cut a big

2611
01:54:07,400 --> 01:54:10,000
Speaker 3: smash record with you know, there's no stuff, and then

2612
01:54:10,080 --> 01:54:12,439
Speaker 3: Jerry would go on stage without Ali, but Ali being

2613
01:54:12,439 --> 01:54:14,479
Speaker 3: in the dressing room with Jerry's already out there performing

2614
01:54:14,479 --> 01:54:16,240
Speaker 3: and he would just do crazy stuff, you know, he

2615
01:54:16,479 --> 01:54:18,599
Speaker 3: was he'd come up front, he was clean with he says, man,

2616
01:54:18,640 --> 01:54:20,360
Speaker 3: I did it, you know, even before he died. I'm

2617
01:54:20,400 --> 01:54:22,360
Speaker 3: the one that got him out the hospital. A few

2618
01:54:22,439 --> 01:54:24,680
Speaker 3: days before he died. He passed away cancer. He don

2619
01:54:24,680 --> 01:54:27,200
Speaker 3: in nineteen ninety seven, and we spent most of that

2620
01:54:27,320 --> 01:54:29,680
Speaker 3: year together. He probably knew he was sick, and I

2621
01:54:29,760 --> 01:54:32,080
Speaker 3: didn't know he was sick, you know. And he told

2622
01:54:32,160 --> 01:54:35,360
Speaker 3: me some things that I never never dreamed of because

2623
01:54:35,400 --> 01:54:37,400
Speaker 3: in my mind I was always trying to help everybody,

2624
01:54:37,400 --> 01:54:39,520
Speaker 3: because there's plenty of money for everybody, y'all go do it.

2625
01:54:39,920 --> 01:54:41,640
Speaker 3: But he always wanted me to sign him and take

2626
01:54:41,680 --> 01:54:44,320
Speaker 3: his publishing, and he always wanted me to do it

2627
01:54:44,440 --> 01:54:44,960
Speaker 3: nice sent men.

2628
01:54:45,200 --> 01:54:45,800
Speaker 1: I can't do that.

2629
01:54:45,960 --> 01:54:47,720
Speaker 3: I'll show you how to do it. You can take

2630
01:54:47,760 --> 01:54:49,400
Speaker 3: the money. Like he did a bunch of songs with

2631
01:54:49,480 --> 01:54:52,360
Speaker 3: the Jets. I was gonna say he broke Curiosity, Oh

2632
01:54:53,000 --> 01:54:57,720
Speaker 3: met those jets, Jet Jet Hero, Curiosity and a two

2633
01:54:57,800 --> 01:54:59,640
Speaker 3: or three other big hits for the Jets, On You,

2634
01:55:00,040 --> 01:55:02,960
Speaker 3: Rush On You. And when he played me those songs,

2635
01:55:03,560 --> 01:55:06,080
Speaker 3: they sound like Jerry Night records, right. And then all

2636
01:55:06,120 --> 01:55:08,440
Speaker 3: of a sudden he was fifty to fifty writer with

2637
01:55:08,560 --> 01:55:11,240
Speaker 3: Aaron zigg I said, who's Aaron Zigmund? The song sound

2638
01:55:11,280 --> 01:55:13,080
Speaker 3: the same as it did last week that you played

2639
01:55:13,080 --> 01:55:13,320
Speaker 3: for me.

2640
01:55:13,640 --> 01:55:15,680
Speaker 1: Well he got the deal. He can get it.

2641
01:55:15,760 --> 01:55:19,880
Speaker 3: Places what you're talking about, what you're talking about it's

2642
01:55:19,920 --> 01:55:22,960
Speaker 3: the same song amateur hour. Yeah, And so he ended

2643
01:55:23,040 --> 01:55:25,520
Speaker 3: up splitting it and giving him all the production and

2644
01:55:25,840 --> 01:55:29,320
Speaker 3: the rest. And in the end it was an interesting conversation.

2645
01:55:29,800 --> 01:55:31,400
Speaker 3: Jerry looked at me. He says, he says, you know what,

2646
01:55:31,640 --> 01:55:33,720
Speaker 3: I'm a genius number two guy.

2647
01:55:33,920 --> 01:55:34,400
Speaker 1: And he was.

2648
01:55:34,960 --> 01:55:36,680
Speaker 3: Even after he left the band, we would always talk.

2649
01:55:36,720 --> 01:55:38,520
Speaker 3: He'd coached me on lyrics on the Other Woman, and

2650
01:55:38,600 --> 01:55:40,000
Speaker 3: he said, no, you can write a better verse, so

2651
01:55:40,040 --> 01:55:40,480
Speaker 3: you can write.

2652
01:55:40,560 --> 01:55:41,160
Speaker 1: He was just guy.

2653
01:55:41,200 --> 01:55:43,400
Speaker 3: He says, I'm a genius, number two guy. He says,

2654
01:55:43,440 --> 01:55:45,680
Speaker 3: but you're the number one guy. You should have signed

2655
01:55:45,720 --> 01:55:49,280
Speaker 3: my publishing. I would have been better off. And in hindsight,

2656
01:55:49,360 --> 01:55:53,640
Speaker 3: you know what, He's right. I didn't see it. Maybe

2657
01:55:53,720 --> 01:55:56,760
Speaker 3: he saw it. My thing was where everybody can do this,

2658
01:55:56,880 --> 01:55:57,960
Speaker 3: let me just show you how to do it. But

2659
01:55:58,040 --> 01:56:01,240
Speaker 3: everybody can't do everything. You know, everybody. It would have

2660
01:56:01,280 --> 01:56:03,360
Speaker 3: been better off because I would have paid him on time,

2661
01:56:03,720 --> 01:56:06,640
Speaker 3: represented songs. He would have been cool. But he said,

2662
01:56:06,720 --> 01:56:09,720
Speaker 3: he says, I'm a number two guy. He says, he said,

2663
01:56:09,840 --> 01:56:14,200
Speaker 3: leaving by myself. He says, I'll destruct everything destruct. He says,

2664
01:56:14,240 --> 01:56:17,160
Speaker 3: how I am, It's that sabotage. I told you, I

2665
01:56:17,240 --> 01:56:20,640
Speaker 3: can't help what happened. He was conscious of it, and

2666
01:56:20,720 --> 01:56:22,560
Speaker 3: he said, that's what it is, he said, an change,

2667
01:56:22,760 --> 01:56:24,480
Speaker 3: that's it, he said. But if you had led it

2668
01:56:24,520 --> 01:56:26,120
Speaker 3: and you had taken it, we would have got through this.

2669
01:56:26,240 --> 01:56:33,120
Speaker 1: You know, for those just joined us, we're still talking

2670
01:56:33,160 --> 01:56:37,240
Speaker 1: to the Great Ray Parker Jr. Uh going down, uh,

2671
01:56:37,560 --> 01:56:42,640
Speaker 1: not even going down, getting life lessons this quest Love

2672
01:56:42,720 --> 01:56:45,600
Speaker 1: Supreme on Pandora getting life lessons. And we haven't even

2673
01:56:45,600 --> 01:56:50,600
Speaker 1: gotten the Ghostbuster. I know, let's jump in the pool.

2674
01:56:51,680 --> 01:56:53,520
Speaker 1: Let us jump in the pool. Are you allowed to

2675
01:56:53,560 --> 01:56:59,400
Speaker 1: tell the Ghostbuster story? What Ghostbuster story? Exactly? I won't

2676
01:56:59,480 --> 01:56:59,680
Speaker 1: tell you.

2677
01:57:00,240 --> 01:57:02,680
Speaker 3: I will tell you everything you want to know, oh

2678
01:57:02,760 --> 01:57:04,960
Speaker 3: the best of my ability. Okay.

2679
01:57:05,160 --> 01:57:09,600
Speaker 1: So, as as a guy who he's done a little

2680
01:57:09,600 --> 01:57:14,240
Speaker 1: bit of scoring work and whatnot, you know, often have

2681
01:57:14,400 --> 01:57:19,960
Speaker 1: clients that will say, you know, let's take a song like,

2682
01:57:20,120 --> 01:57:23,360
Speaker 1: let's take Drake's hotline blink like you know for my show,

2683
01:57:23,520 --> 01:57:25,760
Speaker 1: cut us something like that, yeah, cut us something exactly.

2684
01:57:27,600 --> 01:57:34,920
Speaker 1: So to lease here Hughey's side of the story, who's that?

2685
01:57:36,240 --> 01:57:36,640
Speaker 1: Who's that?

2686
01:57:37,400 --> 01:57:37,520
Speaker 3: All?

2687
01:57:37,600 --> 01:57:41,880
Speaker 1: Right? To hear Huey Lewis's version, Am I to believe

2688
01:57:41,960 --> 01:57:46,920
Speaker 1: that they pitched him the Ghostbusters movie. He thought it

2689
01:57:46,960 --> 01:57:51,280
Speaker 1: was rather silly and didn't want to license I Want

2690
01:57:51,320 --> 01:57:53,200
Speaker 1: a New Drug to them because he thought the movie

2691
01:57:53,320 --> 01:57:57,840
Speaker 1: was silly and kind of dismissed it, and you know,

2692
01:57:58,520 --> 01:58:02,640
Speaker 1: just took his ball and went home. And then is

2693
01:58:02,720 --> 01:58:06,240
Speaker 1: this where they come to you, like, well, first of all,

2694
01:58:06,320 --> 01:58:08,160
Speaker 1: well give me the let me give you my my

2695
01:58:08,360 --> 01:58:09,240
Speaker 1: take on it. Yes, give me.

2696
01:58:09,360 --> 01:58:10,840
Speaker 3: I didn't even know. I never heard what you heard

2697
01:58:11,920 --> 01:58:14,960
Speaker 3: that song ever ever thought that Ghostbusters sounded like I

2698
01:58:15,000 --> 01:58:16,920
Speaker 3: want to still think it, so I don't either. I

2699
01:58:17,040 --> 01:58:19,960
Speaker 3: never thought it did. But yeah, but just here's what

2700
01:58:20,080 --> 01:58:22,600
Speaker 3: I found out later. And this was only after I

2701
01:58:22,720 --> 01:58:24,480
Speaker 3: heard that they were doing a lawsuit something like that.

2702
01:58:24,560 --> 01:58:27,480
Speaker 3: I guess they approached him first to write the song,

2703
01:58:27,880 --> 01:58:29,520
Speaker 3: to write a theme song. I don't think they wanted

2704
01:58:29,560 --> 01:58:31,120
Speaker 3: his song, but I think they want him to write

2705
01:58:31,400 --> 01:58:33,840
Speaker 3: a theme song. And then they put his song in

2706
01:58:33,880 --> 01:58:36,920
Speaker 3: the temp track along with three other songs that sound

2707
01:58:37,080 --> 01:58:40,120
Speaker 3: just like that song. They also have one, four or

2708
01:58:40,200 --> 01:58:43,760
Speaker 3: five chords bar band cords. Right, So if you were

2709
01:58:44,520 --> 01:58:47,720
Speaker 3: if you were in the room as a musician, you

2710
01:58:47,760 --> 01:58:50,600
Speaker 3: would know not to write neither one of us a ballad,

2711
01:58:50,680 --> 01:58:53,360
Speaker 3: because you know, that the guy wants up tempo barbers song,

2712
01:58:53,520 --> 01:58:55,200
Speaker 3: so hit the heade in that direction. I had no

2713
01:58:55,320 --> 01:58:57,280
Speaker 3: idea to approach him. I had no idea about any

2714
01:58:57,320 --> 01:58:59,840
Speaker 3: of that kind of stuff. I think it was unfortunate

2715
01:59:00,400 --> 01:59:03,520
Speaker 3: that he named me in a lawsuit and named you

2716
01:59:03,600 --> 01:59:05,720
Speaker 3: know and all that stuff. I tried to take him

2717
01:59:05,720 --> 01:59:07,880
Speaker 3: to dinner in Germany, but I guess this guy said,

2718
01:59:07,920 --> 01:59:10,560
Speaker 3: don't talk to that reg guy. You know we're about

2719
01:59:10,560 --> 01:59:12,840
Speaker 3: to get mad. Yeah, yeah, yeah, don't talk to that

2720
01:59:12,920 --> 01:59:14,720
Speaker 3: reg guy. I had no idea what they were talking about.

2721
01:59:14,720 --> 01:59:17,200
Speaker 3: When I go you, I ain't free, No got none

2722
01:59:17,200 --> 01:59:19,280
Speaker 3: of that sounds like the same song to me. But

2723
01:59:19,440 --> 01:59:22,920
Speaker 3: I think that maybe he had a case because they

2724
01:59:23,080 --> 01:59:25,200
Speaker 3: called him first and they put his song in the

2725
01:59:25,280 --> 01:59:28,800
Speaker 3: temp track. I think that's a thing for him in

2726
01:59:28,840 --> 01:59:33,880
Speaker 3: the movie company to discuss now on that on the

2727
01:59:34,040 --> 01:59:36,400
Speaker 3: settlement or whatever you call the settlement or whatever they

2728
01:59:36,480 --> 01:59:39,120
Speaker 3: got for it. And I can't talk about the case.

2729
01:59:39,160 --> 01:59:41,680
Speaker 3: And I'll tell you what because I have a genius

2730
01:59:41,800 --> 01:59:48,480
Speaker 3: lawyer named Don Passman and wrote the book. I was like,

2731
01:59:49,000 --> 01:59:50,720
Speaker 3: what book? Donald Passman is lawyer?

2732
01:59:50,760 --> 01:59:52,520
Speaker 5: You wrote a book called Everything You Need to Know

2733
01:59:52,560 --> 01:59:54,680
Speaker 5: about the Music Business and the music business class I.

2734
01:59:54,720 --> 01:59:57,320
Speaker 1: Took in college. That was our textbook. It was that

2735
01:59:57,480 --> 02:00:00,640
Speaker 1: and the Kashif book. Those were two, but that was

2736
02:00:00,760 --> 02:00:04,040
Speaker 1: like the bible for well.

2737
02:00:04,480 --> 02:00:07,560
Speaker 3: Donald Passman's oldest client is me. I've been with him

2738
02:00:07,600 --> 02:00:09,520
Speaker 3: since the beginning. And that's a whole nother story that

2739
02:00:09,640 --> 02:00:12,200
Speaker 3: goes through Bill Cosby back to Bill Cosby begin because

2740
02:00:12,240 --> 02:00:15,240
Speaker 3: Bill Cosby was represented by this firm that's not in

2741
02:00:15,360 --> 02:00:20,560
Speaker 3: the Yellow Pages or anything like, you know, and the

2742
02:00:20,640 --> 02:00:22,320
Speaker 3: only way you get into the firm is somebody brings

2743
02:00:22,480 --> 02:00:24,240
Speaker 3: Bill Cosby brought me into the firm, and that's how

2744
02:00:24,240 --> 02:00:29,720
Speaker 3: I met Don Passman. It's at the beginning. It's very

2745
02:00:29,800 --> 02:00:31,640
Speaker 3: much like Tom Cruise. The frame is very much like

2746
02:00:31,720 --> 02:00:33,200
Speaker 3: that because there was a couple of people I told

2747
02:00:33,240 --> 02:00:34,880
Speaker 3: hibout it says, I can't find a phone umber. I

2748
02:00:34,920 --> 02:00:37,720
Speaker 3: don't see any advertising. They don't you know, they don't advertise.

2749
02:00:37,800 --> 02:00:42,520
Speaker 3: They handle very elite group of people. And so min

2750
02:00:42,600 --> 02:00:47,280
Speaker 3: lawyer came to me. He says, okay, things have worked

2751
02:00:47,280 --> 02:00:49,680
Speaker 3: out or whatever. He said to me, do you want

2752
02:00:49,720 --> 02:00:50,440
Speaker 3: to know what happened?

2753
02:00:51,400 --> 02:00:51,560
Speaker 1: Right?

2754
02:00:52,440 --> 02:00:54,440
Speaker 3: Ray Parker answered to do you want to know what happened?

2755
02:00:54,480 --> 02:00:57,720
Speaker 3: Is guy anything to do with me? I mean, what

2756
02:00:57,720 --> 02:00:59,840
Speaker 3: we're talking about it, right, he says, nothing to do.

2757
02:01:01,480 --> 02:01:04,520
Speaker 3: I said, oh, that's interesting. So and then he says,

2758
02:01:04,800 --> 02:01:06,680
Speaker 3: I just prefer not to tell you. He says, because

2759
02:01:06,800 --> 02:01:08,360
Speaker 3: at the end of the day, we have a gag

2760
02:01:08,480 --> 02:01:11,440
Speaker 3: rule on this finding for whatever they're going to do.

2761
02:01:11,920 --> 02:01:15,000
Speaker 3: He says, doesn't affect you. And if I don't tell

2762
02:01:15,000 --> 02:01:16,680
Speaker 3: your daughter, you can't talk.

2763
02:01:17,640 --> 02:01:17,920
Speaker 1: Okay.

2764
02:01:18,160 --> 02:01:20,520
Speaker 3: So I've never broken the rule because I don't know

2765
02:01:20,560 --> 02:01:23,280
Speaker 3: anything about through. I don't know what anything of it was.

2766
02:01:24,040 --> 02:01:25,920
Speaker 3: It has nothing to do with me. My name's on

2767
02:01:25,960 --> 02:01:26,680
Speaker 3: the song, I get paid.

2768
02:01:26,720 --> 02:01:27,919
Speaker 6: I don't know what are your pockets?

2769
02:01:28,400 --> 02:01:30,000
Speaker 3: Nothing to do with me. I don't have So I

2770
02:01:30,120 --> 02:01:32,160
Speaker 3: never talked about it because I don't know anything about it.

2771
02:01:32,400 --> 02:01:33,520
Speaker 3: But he talked about it.

2772
02:01:34,040 --> 02:01:36,880
Speaker 1: Why the gaggro, like, who's it protect? I don't know.

2773
02:01:37,600 --> 02:01:40,720
Speaker 3: I don't know anything about it. My lawyer said, you

2774
02:01:40,880 --> 02:01:43,240
Speaker 3: can't talk about it because you don't know. That's a

2775
02:01:43,280 --> 02:01:45,400
Speaker 3: smart lawyer. He says, I know you ain't gonna talk

2776
02:01:45,400 --> 02:01:47,080
Speaker 3: about it because you don't know nothing about it, which

2777
02:01:47,080 --> 02:01:50,560
Speaker 3: he's correct. So now, in two thousand and three, I

2778
02:01:50,640 --> 02:01:55,640
Speaker 3: think it was VH one was coming calling me several

2779
02:01:55,720 --> 02:01:58,360
Speaker 3: times a week, which I thought, Wow, I ain't that popular.

2780
02:01:58,400 --> 02:01:58,800
Speaker 1: Why am I.

2781
02:01:58,800 --> 02:02:01,320
Speaker 3: Getting some any phone calls to be on TV? And

2782
02:02:01,720 --> 02:02:04,920
Speaker 3: come to find out they had his version where they're now?

2783
02:02:05,000 --> 02:02:06,600
Speaker 3: They want to have me on Wordy now and play

2784
02:02:06,640 --> 02:02:07,360
Speaker 3: them back to back.

2785
02:02:07,560 --> 02:02:07,680
Speaker 1: Right.

2786
02:02:08,440 --> 02:02:10,560
Speaker 3: So he said a bunch of stuff in which I

2787
02:02:10,680 --> 02:02:15,440
Speaker 3: sued him and I won. He broke the gagri. It

2788
02:02:15,560 --> 02:02:18,120
Speaker 3: was on TV. And how about this, I like Huey

2789
02:02:18,200 --> 02:02:20,120
Speaker 3: Lewis in the news. I don't have anything bad to

2790
02:02:20,160 --> 02:02:21,520
Speaker 3: say about him. I never met him.

2791
02:02:21,560 --> 02:02:23,320
Speaker 1: You guys seen each other in last years.

2792
02:02:23,360 --> 02:02:26,240
Speaker 3: We've never seen each other ever. And I think the

2793
02:02:26,760 --> 02:02:29,760
Speaker 3: sad part, in the irony part of I think he

2794
02:02:29,960 --> 02:02:34,000
Speaker 3: takes it more personal because of however it happened. It's

2795
02:02:34,040 --> 02:02:36,600
Speaker 3: one of those things. Just the bomb built it self.

2796
02:02:36,920 --> 02:02:39,080
Speaker 3: But I really had nothing to try to do that.

2797
02:02:39,600 --> 02:02:41,320
Speaker 3: And I think if he had any right, maybe he

2798
02:02:41,360 --> 02:02:43,040
Speaker 3: should have had it with the other guys that did it.

2799
02:02:43,360 --> 02:02:46,520
Speaker 3: But for some reason it seemed to be directed in

2800
02:02:46,640 --> 02:02:48,680
Speaker 3: my direction more than I think it should have been.

2801
02:02:49,920 --> 02:02:51,680
Speaker 3: Like I hear people talk about him, they say he's

2802
02:02:51,680 --> 02:02:53,760
Speaker 3: a nice guy. Other people say I'm a nice guy.

2803
02:02:54,560 --> 02:02:58,560
Speaker 3: Now when they're approaching you to do this, yeah, and

2804
02:02:58,880 --> 02:02:59,600
Speaker 3: I okay.

2805
02:02:59,720 --> 02:03:03,880
Speaker 1: So the result is. I mean, it's it's it's really

2806
02:03:04,200 --> 02:03:08,960
Speaker 1: a dead and it's it's a dead heat tie between

2807
02:03:09,320 --> 02:03:14,960
Speaker 1: who owns the national Halloween anthem. I mean, it's either

2808
02:03:15,080 --> 02:03:18,920
Speaker 1: you or Michael Jackson, neck and neck. But I prefer

2809
02:03:19,040 --> 02:03:19,920
Speaker 1: to think I'm the winner.

2810
02:03:21,840 --> 02:03:24,720
Speaker 3: I mean Rod temper then just passed. I love Rod,

2811
02:03:25,160 --> 02:03:26,720
Speaker 3: you know, like I took a picture.

2812
02:03:26,720 --> 02:03:30,920
Speaker 1: I'm just saying, around this time is when your check

2813
02:03:31,000 --> 02:03:32,040
Speaker 1: start looking real nice.

2814
02:03:32,120 --> 02:03:34,360
Speaker 3: Around this so you're thinking like that, I'm starting to

2815
02:03:34,400 --> 02:03:37,560
Speaker 3: get concerned because I'm the only living songwriter from Halloween left.

2816
02:03:38,840 --> 02:03:40,880
Speaker 3: My Bobby bors pick I did some shows. What he's

2817
02:03:40,960 --> 02:03:43,080
Speaker 3: gone now? Rod Templeton is gone.

2818
02:03:43,880 --> 02:03:45,960
Speaker 1: I mean, you're kind of lonely here.

2819
02:03:46,680 --> 02:03:48,600
Speaker 3: I mean, but I guess if who you're gonna call

2820
02:03:48,680 --> 02:03:51,400
Speaker 3: for Halloween? I mean Ray Park, you run out of

2821
02:03:51,720 --> 02:03:52,200
Speaker 3: still here.

2822
02:03:53,040 --> 02:03:56,360
Speaker 1: So I mean, at the time, were you thinking like, yo,

2823
02:03:58,120 --> 02:04:01,800
Speaker 1: if I write the right song, this will be played.

2824
02:04:01,920 --> 02:04:06,720
Speaker 1: This will be the happy birthday to you Halloween. No, no, no,

2825
02:04:07,440 --> 02:04:11,520
Speaker 1: but you got admit that it's never died. You're talking

2826
02:04:11,520 --> 02:04:13,120
Speaker 1: about that, and is it a burden? Is it a

2827
02:04:13,160 --> 02:04:16,800
Speaker 1: burden that no is the winning lotto ticket of bird?

2828
02:04:17,120 --> 02:04:18,400
Speaker 1: Does it ever get too heavy?

2829
02:04:18,480 --> 02:04:19,480
Speaker 3: The whole I love you.

2830
02:04:19,520 --> 02:04:21,240
Speaker 1: What do you say? You know I love you?

2831
02:04:21,600 --> 02:04:29,240
Speaker 3: Because dude, my ring tone, I mean, tell the people

2832
02:04:29,320 --> 02:04:32,840
Speaker 3: what they want. Oh my god, you know, give the

2833
02:04:32,920 --> 02:04:34,880
Speaker 3: people what the people call me they tell me. Don't

2834
02:04:34,960 --> 02:04:37,320
Speaker 3: answer the phone. Let it ring through, you know, And

2835
02:04:37,440 --> 02:04:40,600
Speaker 3: so it's just you know, the screen logo for those

2836
02:04:41,400 --> 02:04:42,000
Speaker 3: you can't see that.

2837
02:04:43,280 --> 02:04:44,000
Speaker 1: And if you ring the.

2838
02:04:44,000 --> 02:04:46,440
Speaker 3: Phone, it plays not who you're gonna call, but who

2839
02:04:46,480 --> 02:04:49,880
Speaker 3: you're trying to call. Leave your name and number after

2840
02:04:49,960 --> 02:04:51,800
Speaker 3: the tone. Who you're trying to call. I mean, you

2841
02:04:51,880 --> 02:04:55,400
Speaker 3: know by calling right now, I was call me, call

2842
02:04:55,480 --> 02:04:56,720
Speaker 3: me Nick, call me.

2843
02:04:58,120 --> 02:05:03,760
Speaker 1: You're gonna like this? Of course another question Ray Parker

2844
02:05:03,840 --> 02:05:17,840
Speaker 1: Junior's ring tone. Yes, leave your name and number after

2845
02:05:17,960 --> 02:05:18,400
Speaker 1: the tone.

2846
02:05:27,920 --> 02:05:31,960
Speaker 6: That's that available on.

2847
02:05:34,080 --> 02:05:38,040
Speaker 3: We should make that available. But as with all Ray

2848
02:05:38,120 --> 02:05:41,960
Speaker 3: Parker stories, you do want the juice right always, you

2849
02:05:42,040 --> 02:05:43,920
Speaker 3: guys are leaking for but you're way over there and

2850
02:05:44,000 --> 02:05:48,600
Speaker 3: it starts over there, all right. In the Berry White days,

2851
02:05:49,680 --> 02:05:52,280
Speaker 3: there was a guy named Gary Lamel who ran Berry

2852
02:05:52,320 --> 02:05:55,880
Speaker 3: White's publishing company Aaron Schroeder at the time. Right, okay,

2853
02:05:56,600 --> 02:06:00,160
Speaker 3: the other woman got a temp job working for Mary

2854
02:06:00,240 --> 02:06:04,120
Speaker 3: Lemel the Columbus Pictures. Who I just happened to be

2855
02:06:04,280 --> 02:06:06,720
Speaker 3: me and her were doing whatever we were doing. And

2856
02:06:06,840 --> 02:06:09,000
Speaker 3: so that hooked me back up with Gary Lynmel, who

2857
02:06:09,040 --> 02:06:11,920
Speaker 3: wanted me to save him by writing a song.

2858
02:06:12,120 --> 02:06:12,760
Speaker 1: Oh my old friend.

2859
02:06:13,120 --> 02:06:16,680
Speaker 3: That's how we made the connection. Wow, Okay. So he

2860
02:06:17,120 --> 02:06:20,720
Speaker 3: brought the project to you. Yeah, and so he figured

2861
02:06:20,760 --> 02:06:22,480
Speaker 3: that I could. He says, you got the right humor,

2862
02:06:22,520 --> 02:06:23,760
Speaker 3: you got the right thing, he says, I think you're

2863
02:06:23,840 --> 02:06:25,920
Speaker 3: right for the job. I'll give you fifty grand. Just

2864
02:06:26,040 --> 02:06:27,840
Speaker 3: go write the song whether we if we don't use it,

2865
02:06:27,920 --> 02:06:28,600
Speaker 3: you keep the money.

2866
02:06:28,920 --> 02:06:29,400
Speaker 1: What the heck?

2867
02:06:30,240 --> 02:06:32,960
Speaker 3: They had it like that, you know. And it wasn't

2868
02:06:32,960 --> 02:06:34,720
Speaker 3: gonna be no record. It wasn't gonna be into this.

2869
02:06:34,880 --> 02:06:38,120
Speaker 3: It was twenty seconds of music at the library scene.

2870
02:06:38,480 --> 02:06:41,480
Speaker 3: So I wrote a minute and fifteen seconds of it,

2871
02:06:41,560 --> 02:06:43,320
Speaker 3: just because I don't know how to do twenty seconds

2872
02:06:43,360 --> 02:06:45,160
Speaker 3: of music. You know, by the time I do one

2873
02:06:45,200 --> 02:06:46,800
Speaker 3: group and go to the other group, I got a

2874
02:06:46,880 --> 02:06:49,440
Speaker 3: minute and a half, you know, men in fifteen seconds

2875
02:06:49,440 --> 02:06:51,400
Speaker 3: of men and ten seconds something like that. And so

2876
02:06:51,480 --> 02:06:53,600
Speaker 3: I played the guy a little snippet I had, and

2877
02:06:53,760 --> 02:06:56,840
Speaker 3: that's what he loved and write. He just loved it right,

2878
02:06:57,000 --> 02:06:59,080
Speaker 3: and went to the meeting he loved it, called me

2879
02:06:59,080 --> 02:07:01,400
Speaker 3: at three in the morning. I was sleepy getting the stuff.

2880
02:07:01,440 --> 02:07:01,680
Speaker 1: Girl.

2881
02:07:02,000 --> 02:07:05,960
Speaker 3: Now there's some magic to those girls yelling go but

2882
02:07:06,160 --> 02:07:07,000
Speaker 3: there it's really hot.

2883
02:07:07,240 --> 02:07:07,480
Speaker 1: Okay.

2884
02:07:07,600 --> 02:07:10,480
Speaker 3: So now I was dating little valley girl.

2885
02:07:12,560 --> 02:07:13,440
Speaker 1: In the valley.

2886
02:07:13,800 --> 02:07:16,560
Speaker 3: I woke her up at five in the morning, told

2887
02:07:16,600 --> 02:07:19,440
Speaker 3: her to get her high school friends together because the

2888
02:07:19,520 --> 02:07:21,840
Speaker 3: messengers coming at eight thirty nine o'clock and I need

2889
02:07:21,920 --> 02:07:24,000
Speaker 3: to get these voices on. And it was their first

2890
02:07:24,040 --> 02:07:25,760
Speaker 3: time there being a studio, so they were excited as

2891
02:07:25,800 --> 02:07:27,200
Speaker 3: they could be, like six to seven of them. This

2892
02:07:27,280 --> 02:07:29,000
Speaker 3: is your recording at your house is no, this is

2893
02:07:29,040 --> 02:07:31,560
Speaker 3: recording at the American studio for them, So they're screaming

2894
02:07:31,600 --> 02:07:33,960
Speaker 3: and yelling ghostbusters, which I think made the magic in

2895
02:07:34,000 --> 02:07:34,400
Speaker 3: the record.

2896
02:07:34,480 --> 02:07:34,600
Speaker 1: You know.

2897
02:07:34,960 --> 02:07:37,880
Speaker 3: That's how the song came about. And then we took

2898
02:07:38,000 --> 02:07:42,040
Speaker 3: two tape recorders and started linking the tracks together to

2899
02:07:42,120 --> 02:07:44,480
Speaker 3: make the song four minute song because I only had

2900
02:07:44,560 --> 02:07:46,640
Speaker 3: a minute and fifteen seconds of it. And then the

2901
02:07:46,680 --> 02:07:49,040
Speaker 3: breakdown section that's just me playing some stuff over the

2902
02:07:49,080 --> 02:07:52,960
Speaker 3: same groove without the guitars and the bass and over

2903
02:07:53,040 --> 02:07:55,160
Speaker 3: dubbing and just making sections out of it. But it's

2904
02:07:55,240 --> 02:07:59,920
Speaker 3: really only a minute and ten seconds of music, see Kent.

2905
02:08:00,280 --> 02:08:02,600
Speaker 1: You can't. But not that I think that when you

2906
02:08:03,160 --> 02:08:08,520
Speaker 1: tend to overthink it or try to like concoct like

2907
02:08:10,200 --> 02:08:13,040
Speaker 1: I'm gonna make an anthem for hollowing, it never happened.

2908
02:08:13,080 --> 02:08:14,080
Speaker 3: No, you just gotta do it.

2909
02:08:14,240 --> 02:08:16,160
Speaker 1: But he just wasn't even overthinking it was just like

2910
02:08:16,280 --> 02:08:19,080
Speaker 1: to you, was this just some arbitrary he grabs his

2911
02:08:19,160 --> 02:08:20,320
Speaker 1: fifty grand and see.

2912
02:08:20,440 --> 02:08:22,080
Speaker 3: Exactly, I take the money. I told my account you

2913
02:08:22,080 --> 02:08:24,200
Speaker 3: ain't gonna see it. I'm spending this because my bonus.

2914
02:08:23,960 --> 02:08:24,560
Speaker 1: My magave.

2915
02:08:25,400 --> 02:08:28,520
Speaker 3: So at what point did you? At what point was

2916
02:08:28,600 --> 02:08:33,960
Speaker 3: the oh god, like the holy shit, the this is

2917
02:08:34,040 --> 02:08:37,080
Speaker 3: my he's going too fast. Let me tell you how

2918
02:08:37,120 --> 02:08:40,480
Speaker 3: the best idea of my life came. Okay, okay. The

2919
02:08:40,600 --> 02:08:42,760
Speaker 3: first thing is I got the music really quick. I

2920
02:08:42,840 --> 02:08:45,280
Speaker 3: had all this stuff I was jamming. I could not

2921
02:08:45,840 --> 02:08:50,040
Speaker 3: The guy wanted the words ghostbusters in the song, or

2922
02:08:50,080 --> 02:08:52,240
Speaker 3: I don't get my fifty grand. Well we're front Detroit.

2923
02:08:52,280 --> 02:08:54,400
Speaker 3: You don't get your fifty grand, just don't get it back.

2924
02:08:54,480 --> 02:08:56,000
Speaker 3: We ain't get it back. I'm gonna put it in there.

2925
02:08:56,280 --> 02:08:59,440
Speaker 3: But it was impossible to sing ghostbusters, right, I mean,

2926
02:08:59,480 --> 02:09:02,760
Speaker 3: it was just it wasn't even Ghostbusters. I created that

2927
02:09:02,840 --> 02:09:05,160
Speaker 3: it was Ghostbusters. That's what they kept saying, Ghostbusters. We

2928
02:09:05,160 --> 02:09:08,080
Speaker 3: want Ghostbusters in the song. You heard it now, So

2929
02:09:08,160 --> 02:09:09,920
Speaker 3: it's not fair. But at the time, they hired plenty

2930
02:09:09,960 --> 02:09:11,920
Speaker 3: of writers over the time span of a year, and

2931
02:09:12,040 --> 02:09:13,800
Speaker 3: nobody could get that word in the song. It was

2932
02:09:13,840 --> 02:09:17,400
Speaker 3: a stupid word to sing. You can't sing Ghostbusters. It

2933
02:09:17,560 --> 02:09:20,120
Speaker 3: just doesn't sing. So you're saying other people were trying

2934
02:09:20,160 --> 02:09:23,560
Speaker 3: to demo and yeah, the guy said they had been

2935
02:09:23,600 --> 02:09:24,080
Speaker 3: doing this a year.

2936
02:09:24,120 --> 02:09:24,480
Speaker 1: They don't like.

2937
02:09:24,520 --> 02:09:27,560
Speaker 3: None of the song. Directed don't like none of who tried.

2938
02:09:27,760 --> 02:09:29,720
Speaker 3: I don't know some famous people tried.

2939
02:09:29,800 --> 02:09:31,880
Speaker 5: But it's interesting he says that because that's the same

2940
02:09:31,960 --> 02:09:34,640
Speaker 5: thing like Bobby Brown did on the second Ghostbusters.

2941
02:09:34,800 --> 02:09:37,240
Speaker 3: He didn't sing it either on our own joint. Well,

2942
02:09:38,360 --> 02:09:39,240
Speaker 3: he didn't sing it either.

2943
02:09:39,280 --> 02:09:40,680
Speaker 1: See he was off Yeah, but he.

2944
02:09:40,800 --> 02:09:43,720
Speaker 3: Was off the hook. They wanted Ghostbusters in the song.

2945
02:09:43,720 --> 02:09:46,160
Speaker 6: Right, because he didn't have to say Ghostbuster got a

2946
02:09:46,240 --> 02:09:46,640
Speaker 6: theme song.

2947
02:09:46,840 --> 02:09:49,240
Speaker 3: So here's what. So here's where we're at and I'm

2948
02:09:49,240 --> 02:09:52,080
Speaker 3: sitting there. So I got the song done and I

2949
02:09:52,160 --> 02:09:54,480
Speaker 3: haven't called the girls yet because I don't have anything myself.

2950
02:09:54,520 --> 02:09:56,840
Speaker 3: So it's like now it's three thirty four o'clock in

2951
02:09:56,880 --> 02:09:59,360
Speaker 3: the morning, my fifty grand starting to float out the window,

2952
02:10:00,080 --> 02:10:03,920
Speaker 3: you know. And then this commercial comes on TV, of

2953
02:10:04,000 --> 02:10:05,880
Speaker 3: which I wasn't really trying to write a commercial, but

2954
02:10:05,920 --> 02:10:08,360
Speaker 3: I remember the part of the film they had the

2955
02:10:08,400 --> 02:10:11,760
Speaker 3: Ghostbusters with the backpacks and they had the phone number

2956
02:10:11,840 --> 02:10:14,760
Speaker 3: under it. And when I was half asleep trying to

2957
02:10:14,800 --> 02:10:17,440
Speaker 3: stay awake but trying to write this lyric, I was

2958
02:10:17,560 --> 02:10:20,080
Speaker 3: dozing off, half asleep, and on comes this commercial on

2959
02:10:20,200 --> 02:10:24,000
Speaker 3: TV with like some insect repelling guys or the you know,

2960
02:10:24,120 --> 02:10:26,600
Speaker 3: the exterminator guys, and they got their backpacks.

2961
02:10:26,760 --> 02:10:28,560
Speaker 1: They look just like the Ghostbuster guys.

2962
02:10:28,400 --> 02:10:30,960
Speaker 3: To me, or to wash this troubles down the drain

2963
02:10:31,080 --> 02:10:33,200
Speaker 3: or whatever that you know, roller router guy something, some

2964
02:10:33,360 --> 02:10:35,040
Speaker 3: kind of guys like that. And so I'm looking at

2965
02:10:35,080 --> 02:10:37,600
Speaker 3: it when they got the phone number, who do you call?

2966
02:10:38,560 --> 02:10:41,400
Speaker 1: And I went, that looks just like the Ghostbuster guys.

2967
02:10:41,680 --> 02:10:42,960
Speaker 3: We're gonna make it who you gonna call?

2968
02:10:44,160 --> 02:10:44,280
Speaker 1: Right?

2969
02:10:44,400 --> 02:10:48,760
Speaker 3: So that's Detroit, I said, yea. I said, well, I'm

2970
02:10:48,880 --> 02:10:52,280
Speaker 3: just gonna like not seeing the words Ghostbusters. I'm gonna

2971
02:10:52,320 --> 02:10:54,680
Speaker 3: let the crowd go go Busters, and I just go

2972
02:10:54,920 --> 02:10:57,480
Speaker 3: who you're gonna call? So my song is who you

2973
02:10:57,600 --> 02:10:59,880
Speaker 3: Gonna call? I had no idea what it was gonna

2974
02:10:59,880 --> 02:11:02,600
Speaker 3: be commercials and rested, I mean didn't take it, but

2975
02:11:02,760 --> 02:11:05,040
Speaker 3: that call on like wildfire. As soon as I sung that,

2976
02:11:05,480 --> 02:11:07,720
Speaker 3: the director loved it. He says, oh, man that I

2977
02:11:07,840 --> 02:11:10,080
Speaker 3: like the way you're going. And he was a Jewish guy.

2978
02:11:10,120 --> 02:11:12,640
Speaker 3: So he says, I'm not afraid of any ghosts. He said,

2979
02:11:12,680 --> 02:11:14,200
Speaker 3: but you going, what are you saying? I said no,

2980
02:11:14,400 --> 02:11:16,000
Speaker 3: it's like, I ain't afraid no ghosts.

2981
02:11:16,080 --> 02:11:16,240
Speaker 1: Man.

2982
02:11:16,760 --> 02:11:19,080
Speaker 3: He says, I like how you phrasing that. He says,

2983
02:11:19,120 --> 02:11:21,880
Speaker 3: I like, I like the phrase. He says, I said,

2984
02:11:21,920 --> 02:11:23,560
Speaker 3: y'all had a background. He says, no, I like how

2985
02:11:23,640 --> 02:11:25,960
Speaker 3: you're saying it. I like, you go out, I'm not

2986
02:11:26,080 --> 02:11:28,840
Speaker 3: afraid of any ghosts. I'm like, and I'm looking at

2987
02:11:28,880 --> 02:11:31,600
Speaker 3: him like I'm looking at where we at, Dude, where

2988
02:11:31,720 --> 02:11:34,440
Speaker 3: we at? And I'm saying, no, I ain't afraid no ghosts.

2989
02:11:34,920 --> 02:11:37,480
Speaker 3: He says, say it again slow, I said, I ain't.

2990
02:11:37,280 --> 02:11:38,640
Speaker 1: Afraid no ghost.

2991
02:11:40,200 --> 02:11:41,880
Speaker 3: And I hadn't really thought about what I was saying.

2992
02:11:41,880 --> 02:11:43,960
Speaker 3: I said, no, I ain't afraid no ghost. He said,

2993
02:11:43,960 --> 02:11:46,920
Speaker 3: I like that, man. So we did re redid that

2994
02:11:47,120 --> 02:11:50,760
Speaker 3: and that's what changed the whole world because when they

2995
02:11:50,880 --> 02:11:54,040
Speaker 3: when they licensed the song for commercials, it has nothing

2996
02:11:54,040 --> 02:11:56,360
Speaker 3: to do with the movie because they don't license Ghostbusters.

2997
02:11:56,400 --> 02:11:58,440
Speaker 3: They license who You're Gonna Call, and they put their

2998
02:11:58,480 --> 02:11:59,440
Speaker 3: own name in the back of it.

2999
02:11:59,720 --> 02:12:06,080
Speaker 1: Ah that's real. Okay. My question is are you is

3000
02:12:06,200 --> 02:12:09,800
Speaker 1: this your song? Or is this like whenever someone wants

3001
02:12:09,840 --> 02:12:13,480
Speaker 1: to utilize Ghostbusters, do you have to go through a

3002
02:12:13,560 --> 02:12:16,320
Speaker 1: whole protocol of getting the movie company?

3003
02:12:16,360 --> 02:12:23,720
Speaker 3: And I know it, he was on it.

3004
02:12:24,000 --> 02:12:27,200
Speaker 1: It's pretty much myself now.

3005
02:12:27,520 --> 02:12:30,840
Speaker 3: Now there are protocols. Okay, if the movie was released

3006
02:12:30,920 --> 02:12:33,720
Speaker 3: like this film, there's a three month moratorium on each side.

3007
02:12:34,880 --> 02:12:37,760
Speaker 1: Dude, I totally forgot. Ghostbusters got released again this year.

3008
02:12:39,080 --> 02:12:41,600
Speaker 3: There's a three month moratorium on the front where they

3009
02:12:41,640 --> 02:12:43,520
Speaker 3: didn't want people to do it. But I have such

3010
02:12:43,520 --> 02:12:45,560
Speaker 3: a wonderful deal that if you offered me a million

3011
02:12:45,600 --> 02:12:48,480
Speaker 3: dollars to do it within that three month period, they

3012
02:12:48,680 --> 02:12:50,240
Speaker 3: can say no, you can't do it, but then they

3013
02:12:50,360 --> 02:12:53,600
Speaker 3: give me a million dollars. Oh so I still don't

3014
02:12:53,640 --> 02:12:57,120
Speaker 3: lose the money. Oh, but I mean doing it as in,

3015
02:12:57,280 --> 02:13:00,240
Speaker 3: you can't perform it anywhere or are you for me?

3016
02:13:00,320 --> 02:13:01,520
Speaker 3: I'm just talking about that if they want to use

3017
02:13:01,520 --> 02:13:02,640
Speaker 3: the commercials and other stuff.

3018
02:13:03,040 --> 02:13:03,200
Speaker 1: You know.

3019
02:13:03,640 --> 02:13:04,960
Speaker 3: You know, when you do a film thing, they don't

3020
02:13:04,960 --> 02:13:08,200
Speaker 3: want you in conflict with the film, right, so you.

3021
02:13:08,200 --> 02:13:10,640
Speaker 4: Can't do any commercials for the first three months after

3022
02:13:10,760 --> 02:13:14,400
Speaker 4: it comes out. Now, but you on the words too,

3023
02:13:15,360 --> 02:13:18,200
Speaker 4: like the merchandising. The merchandising.

3024
02:13:18,680 --> 02:13:20,840
Speaker 3: So we're coming out with a clothing line of Ray

3025
02:13:20,880 --> 02:13:24,360
Speaker 3: Parker Junior Collections clothing line because I think they figured

3026
02:13:24,400 --> 02:13:25,880
Speaker 3: out that on the words. So they want to put

3027
02:13:25,880 --> 02:13:28,040
Speaker 3: the words with the characters. So we have a t

3028
02:13:28,160 --> 02:13:30,520
Speaker 3: shirt line and clothing line coming out.

3029
02:13:30,720 --> 02:13:33,200
Speaker 1: Did they use the yours in the two I haven't

3030
02:13:33,200 --> 02:13:34,280
Speaker 1: seen part the new one.

3031
02:13:34,360 --> 02:13:36,680
Speaker 3: This is probably three by the way, Oh part they

3032
02:13:36,760 --> 02:13:39,000
Speaker 3: used a snippet of it. In my opinion, they should

3033
02:13:39,040 --> 02:13:42,720
Speaker 3: have played the themes every time. No, but they put

3034
02:13:42,720 --> 02:13:44,600
Speaker 3: it in there some parts. But you know every time.

3035
02:13:44,800 --> 02:13:47,560
Speaker 3: To me, Indiana Jones, that's how you know, the good

3036
02:13:47,560 --> 02:13:49,440
Speaker 3: guys a client just play the same thing, some of it.

3037
02:13:50,080 --> 02:13:51,800
Speaker 3: I think, I hope next time they do that, you know,

3038
02:13:52,000 --> 02:13:53,440
Speaker 3: But they played a little bit of mine. Then they

3039
02:13:53,520 --> 02:13:55,360
Speaker 3: have twenty other versions where they mixed it up and

3040
02:13:55,400 --> 02:13:58,440
Speaker 3: did it different ways, you know, and then they cut

3041
02:13:58,440 --> 02:14:00,280
Speaker 3: a whole album with these guys. I mean I got

3042
02:14:00,720 --> 02:14:03,080
Speaker 3: writs probably ten songs on the album, but nobody had

3043
02:14:03,080 --> 02:14:03,440
Speaker 3: a hit.

3044
02:14:03,360 --> 02:14:03,840
Speaker 1: On the album.

3045
02:14:05,040 --> 02:14:06,920
Speaker 3: The movie did well, you know, they tried it.

3046
02:14:07,480 --> 02:14:07,920
Speaker 1: They tried it.

3047
02:14:09,680 --> 02:14:16,000
Speaker 3: Maybe next time they'll just go. So when you're turning

3048
02:14:16,120 --> 02:14:18,600
Speaker 3: in this master, at what point do you realize.

3049
02:14:19,760 --> 02:14:23,680
Speaker 1: I have the national anthem for Halloween two weeks after

3050
02:14:23,680 --> 02:14:25,160
Speaker 1: it comes, and it will never die.

3051
02:14:25,360 --> 02:14:28,640
Speaker 3: It will never Halloween. We didn't know till later. I

3052
02:14:28,720 --> 02:14:31,480
Speaker 3: didn't even think about Halloween. But so you're not seeing

3053
02:14:31,520 --> 02:14:35,480
Speaker 3: a grand level Halloween. The only thing I knew is

3054
02:14:35,760 --> 02:14:38,320
Speaker 3: the record came out. Well, I had already been told

3055
02:14:38,360 --> 02:14:40,760
Speaker 3: what's going to happen. You know, the movie in those

3056
02:14:40,880 --> 02:14:44,480
Speaker 3: days will come out almost nine months later overseas in

3057
02:14:44,680 --> 02:14:47,760
Speaker 3: different places. So Clive had already said, okay, we released

3058
02:14:47,800 --> 02:14:51,320
Speaker 3: a single in front of the film, and then when

3059
02:14:51,360 --> 02:14:54,200
Speaker 3: the film comes out, we'll wait and release it overseas da.

3060
02:14:54,240 --> 02:14:54,720
Speaker 1: Da da dah.

3061
02:14:55,120 --> 02:14:57,280
Speaker 3: And they in those days they want to stop as

3062
02:14:57,360 --> 02:14:59,400
Speaker 3: many imports as possible, so they just let it lo

3063
02:14:59,560 --> 02:15:03,200
Speaker 3: lo And within the first two weeks we had sold

3064
02:15:03,320 --> 02:15:05,840
Speaker 3: so many records, and clients says, what do you think

3065
02:15:05,960 --> 02:15:07,800
Speaker 3: is happened to their export and the records. We gotta

3066
02:15:08,320 --> 02:15:10,480
Speaker 3: ship it out overseas, he said, But the movie's not

3067
02:15:10,560 --> 02:15:12,480
Speaker 3: coming out for eight nine months. We're going to be

3068
02:15:12,560 --> 02:15:15,200
Speaker 3: way ahead of the film, he says. I'm torn between

3069
02:15:15,480 --> 02:15:17,680
Speaker 3: putting it out, he said, but my distributors are making

3070
02:15:17,720 --> 02:15:19,840
Speaker 3: me put it out because they're selling so many of them.

3071
02:15:20,520 --> 02:15:22,440
Speaker 3: And I think within the first few weeks we had

3072
02:15:22,480 --> 02:15:25,520
Speaker 3: sold three and a half million records overseas. There were exports,

3073
02:15:26,280 --> 02:15:28,120
Speaker 3: so they forced him into release in it, he says,

3074
02:15:28,160 --> 02:15:29,880
Speaker 3: why do you think they're buying it? They don't understand

3075
02:15:29,920 --> 02:15:32,480
Speaker 3: what you're saying in Italy or other places. I said,

3076
02:15:32,560 --> 02:15:33,920
Speaker 3: if I knew that, I would have cut.

3077
02:15:33,800 --> 02:15:34,280
Speaker 1: A bunch of them.

3078
02:15:34,280 --> 02:15:36,040
Speaker 3: We were talking about, I don't know why they buy

3079
02:15:36,120 --> 02:15:38,280
Speaker 3: the record. Put the record out, you know so and

3080
02:15:38,560 --> 02:15:42,960
Speaker 3: by meet Them. When Meet Them came that February, were

3081
02:15:43,000 --> 02:15:45,080
Speaker 3: repped to like I think they gave me a record

3082
02:15:45,160 --> 02:15:47,680
Speaker 3: with fifteen million sound albums or something like that.

3083
02:15:47,880 --> 02:15:48,440
Speaker 1: Was just crazy.

3084
02:15:48,600 --> 02:15:50,520
Speaker 3: It's one of those songs that took off every everybody.

3085
02:15:50,760 --> 02:15:54,240
Speaker 3: There was something in the song that so infectious, are

3086
02:15:54,320 --> 02:15:56,800
Speaker 3: so happy that you didn't need to know what language

3087
02:15:56,840 --> 02:15:58,520
Speaker 3: it was, You didn't need to understand everything. It just

3088
02:15:58,560 --> 02:16:02,240
Speaker 3: went number one and fifty two con trees. It just

3089
02:16:02,480 --> 02:16:04,800
Speaker 3: just went everybody, and it wasn't a burden on you, like,

3090
02:16:05,760 --> 02:16:07,600
Speaker 3: oh no, all that money to me to the.

3091
02:16:12,480 --> 02:16:15,280
Speaker 1: Weigh in my pocket, down my pants. What's your family saying?

3092
02:16:15,360 --> 02:16:15,480
Speaker 3: Now?

3093
02:16:16,400 --> 02:16:22,360
Speaker 5: Oh then, oh yeah, yeah, he's all right, he's gonna

3094
02:16:22,360 --> 02:16:25,640
Speaker 5: be alright. Aside from the Ghostbusters. Uh, we read that

3095
02:16:25,800 --> 02:16:30,000
Speaker 5: like you're I think the highest paid guitar, Like the highest.

3096
02:16:29,760 --> 02:16:32,960
Speaker 3: Oh that's nonsense. I read that thing. Yeah, well, you

3097
02:16:33,040 --> 02:16:35,280
Speaker 3: know what what I like about it is, you know

3098
02:16:35,400 --> 02:16:38,000
Speaker 3: you read. You can't believe everything you read. First of all,

3099
02:16:38,400 --> 02:16:40,840
Speaker 3: my kids they come up to me said, Dad, we

3100
02:16:41,000 --> 02:16:44,120
Speaker 3: read your net worth two million dollars, right, all these

3101
02:16:44,160 --> 02:16:45,640
Speaker 3: different things. Two million dollars. I thinking, where do you

3102
02:16:45,680 --> 02:16:47,600
Speaker 3: get that number from? We just spent a million dollars

3103
02:16:47,640 --> 02:16:49,920
Speaker 3: just on the studio in the backyard. Okay, what about

3104
02:16:49,920 --> 02:16:52,040
Speaker 3: the rest of the place or whatever they do? And

3105
02:16:52,120 --> 02:16:54,440
Speaker 3: then that article comes out, he's the highest thing he made,

3106
02:16:54,440 --> 02:16:56,320
Speaker 3: He's worth four hundred million dollars. He just made an

3107
02:16:56,360 --> 02:16:58,600
Speaker 3: eighty nine million last year. I'm like, I did know.

3108
02:17:00,720 --> 02:17:03,199
Speaker 1: Somewhere in the middle, I don't even know if it's.

3109
02:17:03,120 --> 02:17:06,480
Speaker 3: The middle somewhere between this. It's kind of crazy, this thing.

3110
02:17:06,560 --> 02:17:08,280
Speaker 3: I mean, who comes up with this stuff? Who writes

3111
02:17:08,320 --> 02:17:10,520
Speaker 3: this stuff on the matter? And then my neighbor he's

3112
02:17:10,560 --> 02:17:12,920
Speaker 3: worth like eighty million, I mean, all these different and

3113
02:17:12,959 --> 02:17:16,720
Speaker 3: Denise Wims was worth almost a billion dollars. Yeah, she's

3114
02:17:16,760 --> 02:17:19,400
Speaker 3: worth like nine hundred and fifty billion dollars on the

3115
02:17:19,440 --> 02:17:21,240
Speaker 3: same website, the same website.

3116
02:17:24,840 --> 02:17:26,120
Speaker 6: Silly, get it.

3117
02:17:26,560 --> 02:17:29,000
Speaker 3: So I'm just singing there's all these numbers and telling

3118
02:17:29,040 --> 02:17:30,879
Speaker 3: my kids, I said, you can't believe everything you read.

3119
02:17:30,920 --> 02:17:31,680
Speaker 1: Look at this right here.

3120
02:17:31,920 --> 02:17:34,480
Speaker 5: You know what other stuff were you able to put

3121
02:17:34,640 --> 02:17:37,000
Speaker 5: your money in and like investing and stuff just to

3122
02:17:37,080 --> 02:17:38,360
Speaker 5: stay you know.

3123
02:17:38,560 --> 02:17:39,080
Speaker 1: Stay well.

3124
02:17:39,160 --> 02:17:41,720
Speaker 3: You know, I lost lots of money years ago, especially

3125
02:17:41,760 --> 02:17:44,199
Speaker 3: in stock market when I got too greedy. But recently

3126
02:17:44,240 --> 02:17:46,000
Speaker 3: I had a really a good landfall. I bought a

3127
02:17:46,040 --> 02:17:48,640
Speaker 3: boat bunch of a Tesla stock when it was that

3128
02:17:48,720 --> 02:17:51,600
Speaker 3: twenty seven dollars, I mean a meaningful a lot enough

3129
02:17:51,640 --> 02:17:54,640
Speaker 3: where I made in five months few million dollars.

3130
02:17:55,280 --> 02:17:55,920
Speaker 6: I got to leave.

3131
02:17:58,440 --> 02:18:00,840
Speaker 3: And you know what's even better, because I'm older and

3132
02:18:00,879 --> 02:18:03,920
Speaker 3: wives are actually cashed me. I still got a lot

3133
02:18:03,959 --> 02:18:06,199
Speaker 3: of it, but I cashed in and took most eighty

3134
02:18:06,240 --> 02:18:08,840
Speaker 3: percent off the table. I was smart enough to finally,

3135
02:18:08,879 --> 02:18:10,880
Speaker 3: you know, so I look for little things like that.

3136
02:18:11,640 --> 02:18:13,640
Speaker 3: I mean, I do the safe stuff now, real estate,

3137
02:18:13,680 --> 02:18:16,040
Speaker 3: a little bit, bonds, you know that kind of stuff.

3138
02:18:16,720 --> 02:18:18,720
Speaker 3: Stay out of trouble, pay your taxes, get done. You

3139
02:18:18,800 --> 02:18:20,320
Speaker 3: want to be going to jail like the other guys,

3140
02:18:20,640 --> 02:18:22,720
Speaker 3: you know, keep the country rolling, and just just do

3141
02:18:22,840 --> 02:18:24,680
Speaker 3: normal stuff. If you, if you, if you pay attention.

3142
02:18:25,200 --> 02:18:27,039
Speaker 3: The key thing with money is just not to buy

3143
02:18:27,160 --> 02:18:29,760
Speaker 3: more stuff than you got money for. Everybody wants to

3144
02:18:29,800 --> 02:18:31,840
Speaker 3: look like this. If you like this, it's okay, look

3145
02:18:31,920 --> 02:18:33,760
Speaker 3: like that. Don't go up there, you know, just don't

3146
02:18:33,760 --> 02:18:35,840
Speaker 3: get out of hand with it and get stupid, you know,

3147
02:18:36,240 --> 02:18:37,520
Speaker 3: life lessons life.

3148
02:18:37,640 --> 02:18:43,560
Speaker 1: Yeah, so okay, I guess during the tornado of the

3149
02:18:43,800 --> 02:18:47,200
Speaker 1: success the single, I noticed that in eighty four you

3150
02:18:47,280 --> 02:18:51,680
Speaker 1: didn't put a record out though, no Ghostbusters, and they

3151
02:18:51,720 --> 02:18:54,480
Speaker 1: had me all over the place and did I section

3152
02:18:54,640 --> 02:18:57,039
Speaker 1: single man Matt. Year or later we did.

3153
02:18:57,000 --> 02:19:00,400
Speaker 3: Put a record out Chartbusters, right, And that was Clive

3154
02:19:00,480 --> 02:19:01,000
Speaker 3: Davis's thing.

3155
02:19:01,120 --> 02:19:01,720
Speaker 1: I never get.

3156
02:19:01,959 --> 02:19:04,200
Speaker 3: Yeah, it was the Greatest Hits, which we'd already had

3157
02:19:04,200 --> 02:19:07,600
Speaker 3: the Greatest Hits album the year before. I said another

3158
02:19:07,720 --> 02:19:10,160
Speaker 3: Greatest Hits. Let me tell you something. We packaged the

3159
02:19:10,160 --> 02:19:12,360
Speaker 3: greatest hits. I had a cold on one of the songs.

3160
02:19:12,400 --> 02:19:14,040
Speaker 3: He said, just put the thing out of cut The

3161
02:19:14,040 --> 02:19:16,199
Speaker 3: stuff sold a million plus albums.

3162
02:19:16,480 --> 02:19:17,800
Speaker 1: Wow.

3163
02:19:18,520 --> 02:19:20,520
Speaker 3: Right, So Clive was right again. I mean, it was

3164
02:19:20,560 --> 02:19:23,600
Speaker 3: an unbelievable payday for not a lot of work. So

3165
02:19:23,720 --> 02:19:24,800
Speaker 3: that really happened great.

3166
02:19:24,879 --> 02:19:27,760
Speaker 1: You know. Was I don't think that man should sleep alone?

3167
02:19:27,879 --> 02:19:33,320
Speaker 1: Was that on sex album? Second? What was the end

3168
02:19:33,360 --> 02:19:35,520
Speaker 1: of Arister? The next record?

3169
02:19:35,800 --> 02:19:38,440
Speaker 3: Second? And that was the end of Arister. Yeah, that's

3170
02:19:38,480 --> 02:19:40,320
Speaker 3: why they didn't promote anything. They just kind of let

3171
02:19:40,400 --> 02:19:41,240
Speaker 3: it go bye bye.

3172
02:19:42,280 --> 02:19:46,520
Speaker 1: But okay, that was just one slight blimish and you

3173
02:19:47,400 --> 02:19:49,320
Speaker 1: wanted it off or was it? Oh no, No, I

3174
02:19:49,480 --> 02:19:55,880
Speaker 1: was off for Arista in eighty three before Ghostbusters. Oh yeah,

3175
02:19:56,040 --> 02:19:56,440
Speaker 1: and it was.

3176
02:19:56,480 --> 02:19:59,360
Speaker 3: It was one of those things where I think it

3177
02:19:59,480 --> 02:20:01,240
Speaker 3: was a missing standing. I never wanted to leave there,

3178
02:20:01,760 --> 02:20:04,160
Speaker 3: but Clive wanted me to do a Dion Warwick album

3179
02:20:04,400 --> 02:20:06,879
Speaker 3: and he called my manager and somehow they were arguing

3180
02:20:06,920 --> 02:20:08,280
Speaker 3: about the price, and he says, well, if it's gonna

3181
02:20:08,280 --> 02:20:09,440
Speaker 3: cost down, I want to know what did it take

3182
02:20:09,480 --> 02:20:12,320
Speaker 3: to renegotiate Ray? And we think, what do you Ray for?

3183
02:20:12,400 --> 02:20:14,840
Speaker 3: I got four more years left to the contract, and

3184
02:20:15,000 --> 02:20:16,520
Speaker 3: somewhere in there he wanted me to do an album,

3185
02:20:16,640 --> 02:20:19,119
Speaker 3: and to me, it was a total misunderstanding and things

3186
02:20:19,160 --> 02:20:21,360
Speaker 3: got out of hand and he'd offered some really low

3187
02:20:21,400 --> 02:20:24,560
Speaker 3: amount of money and everybody got nervous, and David Geffen

3188
02:20:24,640 --> 02:20:28,680
Speaker 3: offered like an enormous amount of money and it was

3189
02:20:28,760 --> 02:20:29,760
Speaker 3: too late to turn back.

3190
02:20:29,879 --> 02:20:30,480
Speaker 1: Sort of a deal.

3191
02:20:31,200 --> 02:20:34,959
Speaker 3: Yeah, So I ended up signing with He hate losing

3192
02:20:35,040 --> 02:20:38,320
Speaker 3: your yeah, but we remained friends. I actually went back

3193
02:20:38,320 --> 02:20:41,640
Speaker 3: to him a little bit later. And uh so when

3194
02:20:41,680 --> 02:20:45,280
Speaker 3: I cut Ghostbusters, I was really already sort of leaving,

3195
02:20:45,560 --> 02:20:47,320
Speaker 3: so it could go either way. But I gave it

3196
02:20:47,360 --> 02:20:48,640
Speaker 3: to client because I said, well, you could put it

3197
02:20:48,680 --> 02:20:50,440
Speaker 3: out fast, and he didn't like it. I said, well,

3198
02:20:50,440 --> 02:20:51,640
Speaker 3: you don't have to like it. They're gonna pay you

3199
02:20:51,640 --> 02:20:53,840
Speaker 3: all the money to promote it. Just take it and pressing,

3200
02:20:54,600 --> 02:20:56,520
Speaker 3: fill it full of your album, fell down, full of

3201
02:20:56,560 --> 02:20:59,320
Speaker 3: your artists, and go in, which he was wonderfully happy about.

3202
02:20:59,400 --> 02:21:05,200
Speaker 1: You know, Okay, I'm the greatest part of the gift ever.

3203
02:21:07,720 --> 02:21:09,720
Speaker 3: Let me tell you something. I'm a very fortunate guy.

3204
02:21:09,800 --> 02:21:12,240
Speaker 3: Because after that I went to Geffing and we had

3205
02:21:12,240 --> 02:21:13,880
Speaker 3: that I don't think man should sleeping on that in

3206
02:21:13,959 --> 02:21:16,160
Speaker 3: the Dark album, which did well went gold in England.

3207
02:21:16,720 --> 02:21:19,400
Speaker 3: They kind of dismissed the ball here, crossing it over

3208
02:21:19,520 --> 02:21:21,720
Speaker 3: pop the usually the way that we do all my records,

3209
02:21:21,760 --> 02:21:23,840
Speaker 3: because David Geffen was selling the company at the time,

3210
02:21:25,000 --> 02:21:26,960
Speaker 3: and I remember the numbers. I think he gave me

3211
02:21:27,000 --> 02:21:29,279
Speaker 3: a million dollars up front and another million do the record,

3212
02:21:29,720 --> 02:21:32,360
Speaker 3: and he said, I'm getting out the music business. I'm

3213
02:21:32,400 --> 02:21:36,400
Speaker 3: selling the whole company. And if you go to MCA,

3214
02:21:36,800 --> 02:21:38,200
Speaker 3: you can keep all the money. You have to pay

3215
02:21:38,240 --> 02:21:41,200
Speaker 3: it back. I was like, I'm down for that. Just

3216
02:21:41,280 --> 02:21:42,720
Speaker 3: keet the money off to pay it back, you know.

3217
02:21:43,200 --> 02:21:44,920
Speaker 3: So that meant I went through MCA, but I kept

3218
02:21:44,959 --> 02:21:47,400
Speaker 3: my contract, but they owe me all the money and

3219
02:21:47,480 --> 02:21:49,039
Speaker 3: I'm free and clear, and I'm starting a zero.

3220
02:21:50,200 --> 02:21:52,200
Speaker 1: Oh it's all the same.

3221
02:21:53,840 --> 02:21:56,280
Speaker 3: I'm starting at zero. So I said, that works. The

3222
02:21:56,360 --> 02:21:59,040
Speaker 3: only problem is I got to m c A and

3223
02:21:59,280 --> 02:22:01,040
Speaker 3: even though I had to it on Bobby Brown and

3224
02:22:01,080 --> 02:22:07,520
Speaker 3: those guys, you know, I had another I was but yeah,

3225
02:22:07,560 --> 02:22:10,040
Speaker 3: I had another artist, and I had an artist Randy

3226
02:22:10,080 --> 02:22:14,280
Speaker 3: Hall signed there too, your artist or yeah, yeah, he

3227
02:22:14,320 --> 02:22:16,880
Speaker 3: was signing me and I signed him the MC and

3228
02:22:17,080 --> 02:22:19,400
Speaker 3: so now I'm going to MC after all of this

3229
02:22:19,520 --> 02:22:22,160
Speaker 3: a while that's going on, and they were like they

3230
02:22:22,240 --> 02:22:24,920
Speaker 3: wanted to have an A and R meeting and listen

3231
02:22:25,000 --> 02:22:26,480
Speaker 3: to what I was going to record and all that,

3232
02:22:26,520 --> 02:22:28,320
Speaker 3: and that just one't feeling that. It's like kind of

3233
02:22:28,360 --> 02:22:32,600
Speaker 3: like making an actor audition. After my contract said I

3234
02:22:32,640 --> 02:22:35,280
Speaker 3: could do whatever I want to do and you give me.

3235
02:22:35,520 --> 02:22:37,120
Speaker 3: I think it was a million bucks up front, Just

3236
02:22:37,160 --> 02:22:39,480
Speaker 3: give me a million bucks when I start. So I

3237
02:22:39,560 --> 02:22:42,240
Speaker 3: hadn't got my money right, and they were talking about, well,

3238
02:22:42,280 --> 02:22:43,720
Speaker 3: you can come on in. I said, come in where

3239
02:22:43,959 --> 02:22:48,400
Speaker 3: come into word? It is my million dollars. And I

3240
02:22:48,480 --> 02:22:50,480
Speaker 3: had a bunch of more albums that they had to take,

3241
02:22:50,640 --> 02:22:55,200
Speaker 3: like several more albums, and so the conversation came up

3242
02:22:55,760 --> 02:22:58,119
Speaker 3: as too. And my parents were sick at the time.

3243
02:22:58,200 --> 02:23:00,160
Speaker 3: So I really want to spend more time Detroit. It's

3244
02:23:00,160 --> 02:23:02,720
Speaker 3: hard for me to record. And so that's why I

3245
02:23:02,760 --> 02:23:06,920
Speaker 3: say this worked out perfect time. They decided to get

3246
02:23:07,000 --> 02:23:10,240
Speaker 3: rid of me, right, but they was this under Joe

3247
02:23:10,320 --> 02:23:14,000
Speaker 3: Busby or no he had just left Ernie Singleton and

3248
02:23:19,200 --> 02:23:21,240
Speaker 3: love both of those guys. But they were gonna do

3249
02:23:21,280 --> 02:23:24,600
Speaker 3: it this way, which was fine. So that the idea came,

3250
02:23:24,680 --> 02:23:27,280
Speaker 3: let's buy ral so believe it. I thought my Lord

3251
02:23:27,520 --> 02:23:29,560
Speaker 3: thought he was crazy. I said, they'll never do that.

3252
02:23:30,320 --> 02:23:32,240
Speaker 3: You know, they'll just make me cut all the records

3253
02:23:32,240 --> 02:23:33,840
Speaker 3: and they'll go sell them and do whatever. Well, you

3254
02:23:33,920 --> 02:23:35,760
Speaker 3: know what, they wrote me a big fat check for

3255
02:23:35,879 --> 02:23:38,879
Speaker 3: all the next several albums. They don't have to do anything.

3256
02:23:40,720 --> 02:23:45,840
Speaker 1: That is unheard of. I mean, how do you deal

3257
02:23:45,920 --> 02:23:49,600
Speaker 1: with the changing times and when the advent of hip

3258
02:23:49,640 --> 02:23:52,480
Speaker 1: hop coming in? And like, how are you dealing with this?

3259
02:23:52,600 --> 02:23:57,640
Speaker 1: I've heard various Uh if you heard the infamous Michael

3260
02:23:57,680 --> 02:24:03,680
Speaker 1: Henderson rant, and there's a there's a famous Michael Henderson

3261
02:24:03,800 --> 02:24:09,680
Speaker 1: and wreking it down. Yeah, a Japan rant where motherfucker

3262
02:24:09,800 --> 02:24:16,920
Speaker 1: down twelve we wreck it down where he's just, you know,

3263
02:24:17,160 --> 02:24:20,040
Speaker 1: kind of ranting over the changing times of music and

3264
02:24:20,200 --> 02:24:23,039
Speaker 1: how it's it might be leaving him behind, Like how

3265
02:24:23,080 --> 02:24:23,320
Speaker 1: are you.

3266
02:24:24,800 --> 02:24:27,280
Speaker 3: Taking it at that moment? You know what, It's an

3267
02:24:27,320 --> 02:24:29,879
Speaker 3: interesting thing. I never really thought about getting left behind,

3268
02:24:30,040 --> 02:24:35,000
Speaker 3: and I never really thought about changing. I think I

3269
02:24:35,120 --> 02:24:36,960
Speaker 3: do so many things in the music business. There was

3270
02:24:37,000 --> 02:24:39,120
Speaker 3: a time I took the life along vacation, which is

3271
02:24:39,160 --> 02:24:42,240
Speaker 3: probably after that my check. I just felt like you know,

3272
02:24:42,280 --> 02:24:44,120
Speaker 3: I moved to the mountains, I bought an airplane. I

3273
02:24:44,200 --> 02:24:47,960
Speaker 3: started flying around the country. You know, water so you

3274
02:24:48,160 --> 02:24:51,600
Speaker 3: just wanted to take it easy and chill. I bought

3275
02:24:51,600 --> 02:24:54,240
Speaker 3: a really nice airplane that I could fly like twenty five.

3276
02:24:54,280 --> 02:24:55,720
Speaker 3: I could fly to New York and back. You know,

3277
02:24:55,840 --> 02:24:59,840
Speaker 3: some people take vacations of me. I know, it's amazing, right,

3278
02:25:00,000 --> 02:25:05,960
Speaker 3: all right, you know Stevie Wonder. Yeah, airplane, so I

3279
02:25:06,040 --> 02:25:08,120
Speaker 3: got a little yeah, making flames, so I got a

3280
02:25:08,160 --> 02:25:09,920
Speaker 3: little lot of not a lot of control. But you know,

3281
02:25:09,959 --> 02:25:12,600
Speaker 3: I was like water ski everything that I dreamed about that.

3282
02:25:12,640 --> 02:25:14,320
Speaker 3: I bought a house in the mountains and lived up

3283
02:25:14,360 --> 02:25:17,080
Speaker 3: eight thousand feet overlooking the lake and the fresh air,

3284
02:25:17,120 --> 02:25:18,800
Speaker 3: and ride with snowmobile ski.

3285
02:25:19,040 --> 02:25:19,920
Speaker 1: Eighty days a year.

3286
02:25:20,160 --> 02:25:22,360
Speaker 3: Just had a wonderful time of it. You know, girls

3287
02:25:22,400 --> 02:25:23,879
Speaker 3: couldn't even find me because the didn't know where I lived.

3288
02:25:23,879 --> 02:25:26,200
Speaker 3: I fly my airplane to the girl's house, have a date,

3289
02:25:26,240 --> 02:25:27,400
Speaker 3: and I split and go back home.

3290
02:25:27,879 --> 02:25:28,760
Speaker 1: Nobody find life.

3291
02:25:29,080 --> 02:25:31,840
Speaker 3: I was having a great time, and I did that

3292
02:25:31,920 --> 02:25:35,680
Speaker 3: for several years. That's a whole Yeah. If you got

3293
02:25:35,760 --> 02:25:39,680
Speaker 3: a plane, I had motorcycles, dirt bikes. I mean, I

3294
02:25:39,840 --> 02:25:41,640
Speaker 3: just was having a great time. This went on for

3295
02:25:41,640 --> 02:25:44,240
Speaker 3: a while, you know, until I met my future.

3296
02:25:43,920 --> 02:25:48,000
Speaker 1: Wife finally made you decide to get married. I don't know.

3297
02:25:48,280 --> 02:25:51,039
Speaker 3: I met a girl like none other that I would

3298
02:25:51,160 --> 02:25:53,360
Speaker 3: rather watch TV with than go bang a couple of

3299
02:25:53,400 --> 02:25:53,760
Speaker 3: other ones.

3300
02:25:54,520 --> 02:25:54,959
Speaker 1: That's real.

3301
02:25:55,120 --> 02:25:58,520
Speaker 3: Yeah, it was just just a true man. Yeah, it's

3302
02:25:58,560 --> 02:26:00,360
Speaker 3: real romance, I think, you know, and I feel that

3303
02:26:00,440 --> 02:26:00,920
Speaker 3: way today.

3304
02:26:01,760 --> 02:26:03,039
Speaker 1: I want to say that wedding.

3305
02:26:06,680 --> 02:26:09,720
Speaker 5: You have a record a song on the Mexico talk

3306
02:26:09,760 --> 02:26:11,680
Speaker 5: about that. Was that inspired by her?

3307
02:26:11,879 --> 02:26:14,480
Speaker 3: Or No, I was just in Mexico rights some songs,

3308
02:26:14,520 --> 02:26:16,720
Speaker 3: just food around you. Wait you hear the next record.

3309
02:26:16,760 --> 02:26:18,800
Speaker 3: I mean, I'm almost halfway done with it. It's funky.

3310
02:26:19,000 --> 02:26:20,080
Speaker 3: It's nineteen eighty three.

3311
02:26:20,400 --> 02:26:20,560
Speaker 1: You know.

3312
02:26:21,200 --> 02:26:22,720
Speaker 6: He said he don't write about his life.

3313
02:26:22,760 --> 02:26:23,680
Speaker 1: He do people.

3314
02:26:23,920 --> 02:26:26,720
Speaker 3: And then what I'm doing now this is I'm cutting me.

3315
02:26:27,520 --> 02:26:29,200
Speaker 3: What am I cut? This new record sounds like me

3316
02:26:29,440 --> 02:26:31,840
Speaker 3: Funkadelic Rick Jamee. I mean, it's it's that era. You know,

3317
02:26:31,920 --> 02:26:34,879
Speaker 3: it's back to my ear. If the instruments were created

3318
02:26:34,959 --> 02:26:36,080
Speaker 3: much after that, I ain't gonna.

3319
02:26:35,879 --> 02:26:37,160
Speaker 1: Have it on there. I mean, it's our.

3320
02:26:38,840 --> 02:26:40,960
Speaker 3: And you know what's interesting, I don't feel the least

3321
02:26:41,080 --> 02:26:45,520
Speaker 3: bit because I'm not really money motivated to make the record,

3322
02:26:46,120 --> 02:26:48,440
Speaker 3: so I don't feel the least bit. I gotta listen

3323
02:26:48,480 --> 02:26:50,160
Speaker 3: to what's on the radio, try to go boo bah

3324
02:26:50,160 --> 02:26:50,640
Speaker 3: boo boo boo.

3325
02:26:50,680 --> 02:26:51,600
Speaker 1: But if they go boo bah.

3326
02:26:51,440 --> 02:26:53,040
Speaker 3: Boo boo boo ba, I just want to do it

3327
02:26:53,160 --> 02:26:55,760
Speaker 3: my way, you know, and just keep it true to

3328
02:26:55,840 --> 02:26:57,959
Speaker 3: what it is, you know, and people if somebody says,

3329
02:26:58,640 --> 02:26:59,600
Speaker 3: I don't know, maybe we sell it.

3330
02:26:59,640 --> 02:26:59,800
Speaker 1: Maybe.

3331
02:27:00,560 --> 02:27:03,400
Speaker 3: But I never really made music to try to make money.

3332
02:27:03,440 --> 02:27:04,960
Speaker 3: I was always trying to make music because I love

3333
02:27:05,040 --> 02:27:05,400
Speaker 3: the music.

3334
02:27:06,080 --> 02:27:08,120
Speaker 1: How do your kids feel about your career? Like, do

3335
02:27:08,240 --> 02:27:10,600
Speaker 1: they know that you're the coolest dude walking the planet?

3336
02:27:10,720 --> 02:27:10,880
Speaker 4: Or no?

3337
02:27:11,080 --> 02:27:11,240
Speaker 1: Was it?

3338
02:27:11,520 --> 02:27:13,880
Speaker 3: My kids thought nothing until they saw me get a

3339
02:27:13,920 --> 02:27:17,240
Speaker 3: star on Hollywood Boulevard, and really that got let me

3340
02:27:17,320 --> 02:27:20,280
Speaker 3: tell you something. I never they don't move over anything, right.

3341
02:27:20,600 --> 02:27:22,840
Speaker 3: But we came home from the star ceremony and my

3342
02:27:23,280 --> 02:27:25,600
Speaker 3: youngest son took the picture of somebody down and hung

3343
02:27:25,680 --> 02:27:27,560
Speaker 3: hist star up that I gave, you know, and I

3344
02:27:27,680 --> 02:27:30,000
Speaker 3: was like, really, I mean, y'all, really we got to y'all.

3345
02:27:30,000 --> 02:27:31,760
Speaker 3: I mean we finally tapped you just a little bit.

3346
02:27:32,760 --> 02:27:32,920
Speaker 1: Now.

3347
02:27:33,520 --> 02:27:36,480
Speaker 3: I got a thirty year old twenty eight sixteen and eighteen.

3348
02:27:37,120 --> 02:27:39,200
Speaker 3: So the younger ones, you know, the older ones, you know,

3349
02:27:39,280 --> 02:27:40,840
Speaker 3: they grew up with all this nonsense.

3350
02:27:40,840 --> 02:27:41,440
Speaker 1: They ain't getting it.

3351
02:27:41,840 --> 02:27:44,680
Speaker 3: But for some reason. Yeah, but for some reason, even

3352
02:27:44,720 --> 02:27:48,440
Speaker 3: the older kids, the star on Hollywood Boulevard was a

3353
02:27:48,520 --> 02:27:51,400
Speaker 3: life changer. That was the game changer. Forget all the money,

3354
02:27:51,400 --> 02:27:52,920
Speaker 3: forget all that stuff. They know they live in the

3355
02:27:52,959 --> 02:27:55,000
Speaker 3: house that the money bought. They got that, but that's

3356
02:27:55,120 --> 02:27:57,240
Speaker 3: just their thing. But for some reason, the star thing

3357
02:27:57,320 --> 02:27:59,840
Speaker 3: everybody got. You know, even my wife. We were driving home.

3358
02:28:00,000 --> 02:28:01,600
Speaker 3: I said, I don't know about your other boyfriends, but

3359
02:28:01,640 --> 02:28:07,480
Speaker 3: I bet you they want to know Hollywood. Let me

3360
02:28:07,520 --> 02:28:09,560
Speaker 3: tell you something. I thought we were gonna have something going.

3361
02:28:09,920 --> 02:28:11,560
Speaker 3: And she looked at me, she says, I'll let you

3362
02:28:11,640 --> 02:28:17,480
Speaker 3: slide with that one that put the blind you know,

3363
02:28:17,760 --> 02:28:18,160
Speaker 3: she let me.

3364
02:28:18,320 --> 02:28:18,760
Speaker 1: She let it go.

3365
02:28:18,879 --> 02:28:22,039
Speaker 3: She even let that one go. So that was an interesting.

3366
02:28:21,720 --> 02:28:23,800
Speaker 5: Thing with your kids, Like how do you because they

3367
02:28:23,879 --> 02:28:26,360
Speaker 5: grew up, you know, particularly the old ones, growing up

3368
02:28:26,400 --> 02:28:29,000
Speaker 5: growing up in that kind of goal, how do you

3369
02:28:29,080 --> 02:28:31,200
Speaker 5: teach them like the importance of work ethic and like

3370
02:28:31,280 --> 02:28:31,960
Speaker 5: what are they into?

3371
02:28:32,160 --> 02:28:33,520
Speaker 3: I turned them out of the house and cut them

3372
02:28:33,520 --> 02:28:41,200
Speaker 3: off like years ago. Well, you know they started.

3373
02:28:41,240 --> 02:28:41,400
Speaker 4: You know.

3374
02:28:41,680 --> 02:28:43,320
Speaker 3: The problem is the kids. They think your money is

3375
02:28:43,360 --> 02:28:45,560
Speaker 3: their money less.

3376
02:28:45,879 --> 02:28:46,680
Speaker 1: Yeah, yeah, you know.

3377
02:28:46,800 --> 02:28:48,400
Speaker 3: So I kicked my kids out, and you know what,

3378
02:28:48,800 --> 02:28:51,119
Speaker 3: they all fell to the ground. And now they're all

3379
02:28:51,200 --> 02:28:54,760
Speaker 3: making a lot of money, doing well, and so hopefully

3380
02:28:54,840 --> 02:28:56,800
Speaker 3: the younger ones will do the same thing. And it's

3381
02:28:56,879 --> 02:28:59,200
Speaker 3: really painful to the fire. I told my kids the

3382
02:28:59,280 --> 02:29:01,840
Speaker 3: old story. It's got it's gonna hurt you, but guess what,

3383
02:29:01,920 --> 02:29:09,760
Speaker 3: you get the fuck out. I came home one day

3384
02:29:09,800 --> 02:29:11,000
Speaker 3: and both of them were supposed to be looking for

3385
02:29:11,040 --> 02:29:13,520
Speaker 3: a job. One and graduated college. Won had dropped out,

3386
02:29:13,680 --> 02:29:16,080
Speaker 3: and they were at the swimming pool drinking margaritas and

3387
02:29:16,200 --> 02:29:18,960
Speaker 3: it was now I said, what with the job? They said,

3388
02:29:19,000 --> 02:29:24,560
Speaker 3: we searched all day, all day. It's twelve o'clock. So

3389
02:29:25,680 --> 02:29:28,600
Speaker 3: finally put them out. They were twenty two and twenty four.

3390
02:29:28,760 --> 02:29:30,000
Speaker 6: Okay, it's reasonable.

3391
02:29:30,200 --> 02:29:35,560
Speaker 1: You get lessons every you got.

3392
02:29:36,520 --> 02:29:38,120
Speaker 3: It may have been twenty one and twenty because the

3393
02:29:38,160 --> 02:29:40,640
Speaker 3: oldest one had graduated, so maybe it's twenty three, and

3394
02:29:40,840 --> 02:29:41,160
Speaker 3: why you.

3395
02:29:41,200 --> 02:29:42,360
Speaker 6: Give them an extra year?

3396
02:29:42,360 --> 02:29:44,640
Speaker 3: The other one dropped out. I said at the time,

3397
02:29:45,000 --> 02:29:47,119
Speaker 3: y'all can move together, share my spl.

3398
02:29:48,760 --> 02:29:52,880
Speaker 1: Bro. That's that's real. Like, did you ever have a deadline?

3399
02:29:52,920 --> 02:29:56,760
Speaker 1: Like when I was twenty, my dad was like, Yo,

3400
02:29:57,879 --> 02:29:58,760
Speaker 1: something gotta happened.

3401
02:29:58,920 --> 02:30:02,120
Speaker 5: I wasn't lucky. I got my record deal like within

3402
02:30:03,879 --> 02:30:07,240
Speaker 5: a year and a half, Like, but I got super lucky.

3403
02:30:07,320 --> 02:30:09,200
Speaker 5: It was eighteen for me, and I knew. Once I

3404
02:30:09,320 --> 02:30:11,280
Speaker 5: graduated high school, I was just like, yeah, I can't

3405
02:30:11,320 --> 02:30:14,320
Speaker 5: come back. So then I went to college and even

3406
02:30:14,360 --> 02:30:16,280
Speaker 5: coming back for the summers was tough.

3407
02:30:16,440 --> 02:30:18,720
Speaker 1: You know what I'm saying. Able to pay something?

3408
02:30:18,920 --> 02:30:22,240
Speaker 3: Yeah, totally. I was working everything.

3409
02:30:22,520 --> 02:30:26,000
Speaker 5: So then finally my senior year, me and my buddy,

3410
02:30:26,360 --> 02:30:29,360
Speaker 5: we got our own apartment and so that was then.

3411
02:30:29,400 --> 02:30:30,720
Speaker 1: I also had a kid on the way. I had

3412
02:30:30,720 --> 02:30:35,720
Speaker 1: my son on the way, so that kind of so

3413
02:30:36,000 --> 02:30:36,960
Speaker 1: I was. I was hustling.

3414
02:30:37,000 --> 02:30:39,200
Speaker 5: And then I graduated and then we signed that first deal.

3415
02:30:39,560 --> 02:30:41,720
Speaker 5: We completed the list in like a couple of months

3416
02:30:41,760 --> 02:30:42,440
Speaker 5: as I graduated.

3417
02:30:42,959 --> 02:30:45,879
Speaker 3: So what about you paid Bill and Steve? Your parents

3418
02:30:45,959 --> 02:30:55,199
Speaker 3: were like, I get the funk out. He's like Roger Dangerfield,

3419
02:30:55,640 --> 02:30:56,520
Speaker 3: don't stay home.

3420
02:30:58,600 --> 02:31:03,880
Speaker 1: School are the last I have one last question, but

3421
02:31:04,879 --> 02:31:07,120
Speaker 1: I have to rewind back a little bit on because

3422
02:31:07,200 --> 02:31:11,080
Speaker 1: it means so much to me. But I just have

3423
02:31:11,200 --> 02:31:18,000
Speaker 1: to say like your your theme The Prior's Place, Yo

3424
02:31:18,160 --> 02:31:21,400
Speaker 1: that that was one of my favorite shows ever, Like

3425
02:31:21,480 --> 02:31:23,280
Speaker 1: what was it like working with Richard Pryor? And how

3426
02:31:23,360 --> 02:31:23,840
Speaker 1: did how did you?

3427
02:31:23,879 --> 02:31:26,680
Speaker 3: Man? That was wonderful. I got that because I was

3428
02:31:26,760 --> 02:31:35,400
Speaker 3: dating the director's daughter. I need one more like campfire

3429
02:31:35,480 --> 02:31:39,920
Speaker 3: story about rain the ladies leave the rest of that alone.

3430
02:31:39,680 --> 02:31:41,600
Speaker 6: To the white pants and the peaches back.

3431
02:31:43,000 --> 02:31:45,280
Speaker 3: So her dad asked me to come in and write

3432
02:31:45,320 --> 02:31:47,720
Speaker 3: the song, you know, and working with Richard Pryor was

3433
02:31:47,800 --> 02:31:50,120
Speaker 3: wonderful and it was like a dream come true. Then

3434
02:31:50,160 --> 02:31:52,240
Speaker 3: they put me in the video and I'm bouncing the basketball.

3435
02:31:52,360 --> 02:31:52,560
Speaker 1: Richard.

3436
02:31:53,360 --> 02:31:55,000
Speaker 3: I'm like, oh man, this is as cool as you

3437
02:31:55,080 --> 02:31:57,560
Speaker 3: can get, right, And all of a sudden, I don't

3438
02:31:57,600 --> 02:31:59,959
Speaker 3: know where the ratings come out. The thing is going

3439
02:32:00,200 --> 02:32:03,080
Speaker 3: great and it's us kids cartoons, I mean kids think

3440
02:32:03,200 --> 02:32:05,680
Speaker 3: So I'm thinking, wow, this is every everything, This is it.

3441
02:32:06,080 --> 02:32:08,560
Speaker 3: I got it. Then Richard probably just says I want

3442
02:32:08,600 --> 02:32:12,080
Speaker 3: to do no more, man like after several episodes and

3443
02:32:12,120 --> 02:32:14,840
Speaker 3: everybody's like, yeah, what happened. I thought if we said

3444
02:32:14,879 --> 02:32:17,360
Speaker 3: the ratings, the ratings are, Richie just doesn't feel like

3445
02:32:17,480 --> 02:32:21,240
Speaker 3: doing it anymore, you know. No, he just didn't feel

3446
02:32:21,760 --> 02:32:22,640
Speaker 3: just changed his mind.

3447
02:32:22,680 --> 02:32:24,000
Speaker 1: It was the Black Sesame Street.

3448
02:32:24,360 --> 02:32:25,360
Speaker 3: Yeah, he just changes his mind.

3449
02:32:26,000 --> 02:32:27,920
Speaker 1: He came on eleven thirty ripe before a soldier.

3450
02:32:28,000 --> 02:32:29,960
Speaker 3: Yeah, he just decided, I'm not gonna do no more.

3451
02:32:30,520 --> 02:32:31,720
Speaker 2: Wow. You know.

3452
02:32:31,879 --> 02:32:34,600
Speaker 3: And then when that happens, you know what about us

3453
02:32:34,680 --> 02:32:39,000
Speaker 3: little guys? You know, come on, you know it must

3454
02:32:39,080 --> 02:32:41,160
Speaker 3: be nice, It must be nice. Just walk away right

3455
02:32:41,200 --> 02:32:43,840
Speaker 3: in the middle of it. Don't care. Let's go So

3456
02:32:44,680 --> 02:32:48,920
Speaker 3: okay any any I mean your new addition session.

3457
02:32:48,760 --> 02:32:50,200
Speaker 1: Was okay, you're gonna like this.

3458
02:32:50,440 --> 02:32:54,520
Speaker 3: So I wrote mister Telephone Man right alongside Jack and

3459
02:32:54,640 --> 02:32:57,320
Speaker 3: Jill and some other stuff all at the same time, right,

3460
02:32:58,080 --> 02:32:59,959
Speaker 3: and I thought, stupid song, mister teller.

3461
02:33:00,240 --> 02:33:01,520
Speaker 1: I don't know why did I write that?

3462
02:33:01,879 --> 02:33:04,040
Speaker 3: So I can it and I don't do anything with it,

3463
02:33:04,800 --> 02:33:06,640
Speaker 3: and we end up recording it on this kid on

3464
02:33:06,720 --> 02:33:11,119
Speaker 3: Geffen Records, Kid Junior Tucker, and they for some reason

3465
02:33:11,200 --> 02:33:14,040
Speaker 3: they throw his album with David Foster cuts some first

3466
02:33:14,560 --> 02:33:16,480
Speaker 3: Jay Graden that comes some They didn't like anything, and

3467
02:33:16,560 --> 02:33:20,720
Speaker 3: they gave it to me at discounted budget, and I

3468
02:33:20,959 --> 02:33:22,680
Speaker 3: actually finished the record for him, got it done, and

3469
02:33:22,720 --> 02:33:24,280
Speaker 3: then they just canned the thing and they didn't do nothing.

3470
02:33:24,320 --> 02:33:27,119
Speaker 3: With it, but somehow the new addition heard it through

3471
02:33:27,200 --> 02:33:29,240
Speaker 3: this guy Dale Konwa Shimo used to work for Michael

3472
02:33:29,320 --> 02:33:33,720
Speaker 3: Jackson and they loved the song. I didn't know that

3473
02:33:33,800 --> 02:33:36,080
Speaker 3: they had heard it. So Gerald Buzzby called me up

3474
02:33:36,600 --> 02:33:39,440
Speaker 3: in Detroit while my parents were sick, and he says,

3475
02:33:39,800 --> 02:33:42,320
Speaker 3: I want you to fly to New York Boston and

3476
02:33:42,440 --> 02:33:45,840
Speaker 3: hear these kids singing, because you know, they want you

3477
02:33:45,959 --> 02:33:47,520
Speaker 3: to work with him on a song. That's why he

3478
02:33:47,560 --> 02:33:49,160
Speaker 3: didn't say right it. He said work with him on

3479
02:33:49,240 --> 02:33:51,960
Speaker 3: a song. And my parents were sick. I've been in

3480
02:33:52,040 --> 02:33:54,640
Speaker 3: Detroit for months, it's freezing cold, and he wants me

3481
02:33:54,720 --> 02:33:57,959
Speaker 3: to go to Boston. It's January, not even not feeling

3482
02:33:58,040 --> 02:34:00,480
Speaker 3: it right. So I tell Gerald, thanks of the man.

3483
02:34:00,600 --> 02:34:04,280
Speaker 3: I don't think sothing man feeling So Gerald, being the

3484
02:34:04,360 --> 02:34:07,240
Speaker 3: smart guy, he was called back a month later. A

3485
02:34:07,280 --> 02:34:09,640
Speaker 3: few weeks later, he says, how about we take the

3486
02:34:09,760 --> 02:34:12,400
Speaker 3: jet and go to the Bahamas and stay at the

3487
02:34:12,440 --> 02:34:15,360
Speaker 3: Trump thing there and go to the restaurant and we party.

3488
02:34:15,600 --> 02:34:19,920
Speaker 3: I said that works to do that, So we fly

3489
02:34:20,080 --> 02:34:23,160
Speaker 3: down to the Bahamas, we rent motorcycles, we go in

3490
02:34:23,200 --> 02:34:25,760
Speaker 3: the casino, we eat at the same restaurant. Donald trump

3491
02:34:25,840 --> 02:34:28,760
Speaker 3: stand over there. We're sitting here and we party so hard.

3492
02:34:29,200 --> 02:34:32,000
Speaker 3: We get to the kids concert. They walk off the stage,

3493
02:34:32,680 --> 02:34:35,480
Speaker 3: right there's mister Parker. How did you like our song?

3494
02:34:35,560 --> 02:34:40,720
Speaker 3: I ain't even heard it yet. Gerald looks at me.

3495
02:34:40,760 --> 02:34:43,920
Speaker 3: I'm looking at him like, whoa, man, we're late. We

3496
02:34:44,080 --> 02:34:46,360
Speaker 3: missed the whole thing, you know. And we're like, oh, yeah,

3497
02:34:46,400 --> 02:34:46,800
Speaker 3: that was great.

3498
02:34:46,840 --> 02:34:47,040
Speaker 4: Yeah.

3499
02:34:48,480 --> 02:34:50,280
Speaker 3: And so I go back and I'm feeling bad now

3500
02:34:50,320 --> 02:34:53,480
Speaker 3: because I'm like, man, Gerald, man, my parents are sick,

3501
02:34:54,080 --> 02:34:54,960
Speaker 3: really not feeling this.

3502
02:34:55,320 --> 02:34:57,560
Speaker 1: Write the song thing and go back to you know.

3503
02:34:57,680 --> 02:34:59,560
Speaker 3: Just He says, oh, man, you ain't got to write

3504
02:34:59,600 --> 02:35:02,080
Speaker 3: the song. He says, they were playing your song. They

3505
02:35:02,160 --> 02:35:03,480
Speaker 3: just want you to re record it.

3506
02:35:03,600 --> 02:35:03,720
Speaker 1: You know.

3507
02:35:04,400 --> 02:35:07,200
Speaker 3: I was like, what song, mister telephone? I said, how

3508
02:35:07,240 --> 02:35:09,720
Speaker 3: did they hear that? He says, no, they worked out there,

3509
02:35:10,000 --> 02:35:12,480
Speaker 3: they know what. They want you to cut it, just

3510
02:35:12,560 --> 02:35:14,440
Speaker 3: like those stuff. So we got went to back in

3511
02:35:14,520 --> 02:35:19,040
Speaker 3: California and uh, the kids say, look, just cut it

3512
02:35:19,400 --> 02:35:21,400
Speaker 3: just like in fact, can we buy the old track?

3513
02:35:21,560 --> 02:35:23,320
Speaker 3: I said, no, that blongs you can't buy it over chain.

3514
02:35:23,440 --> 02:35:25,080
Speaker 3: But it's me playing all the instruments. So I'll cut

3515
02:35:25,120 --> 02:35:29,640
Speaker 3: it again. So I put all the instruments together. He said, yeah, yeah,

3516
02:35:29,640 --> 02:35:32,120
Speaker 3: so that's me playing. I play the drums and over dub.

3517
02:35:32,480 --> 02:35:34,440
Speaker 3: I'm like Steve. I put the drums on last, you know,

3518
02:35:34,720 --> 02:35:36,160
Speaker 3: So I played the bass and all the rest. Well

3519
02:35:36,160 --> 02:35:37,800
Speaker 3: that's how the master taught me. I'm just doing it

3520
02:35:37,920 --> 02:35:40,000
Speaker 3: like he did it. So I put all the stuff on.

3521
02:35:40,120 --> 02:35:42,360
Speaker 3: We get the track done. We get to singing on

3522
02:35:42,520 --> 02:35:44,640
Speaker 3: Ralph sings the verse. It sounds great. Nobody can sing

3523
02:35:44,720 --> 02:35:47,520
Speaker 3: the chorus, and said Bobby because he's he didn't want

3524
02:35:47,520 --> 02:35:49,520
Speaker 3: He said, I don't sing. I rap right. I said,

3525
02:35:49,520 --> 02:35:51,280
Speaker 3: well you got to sing because ain't nobody else singing it.

3526
02:35:51,520 --> 02:35:53,240
Speaker 3: So he's yelling and screaming up how, I said. We

3527
02:35:53,320 --> 02:35:56,200
Speaker 3: get him on up high. Later he tells me, you know,

3528
02:35:56,200 --> 02:35:57,080
Speaker 3: I saw him a few weeks ago.

3529
02:35:57,080 --> 02:35:57,680
Speaker 1: He told me.

3530
02:35:57,680 --> 02:35:59,440
Speaker 3: He says, well, Ray Parker Junior said I can sing

3531
02:35:59,520 --> 02:36:00,920
Speaker 3: someth fuck it, I quit the band said, I do

3532
02:36:01,000 --> 02:36:06,119
Speaker 3: my own album. I said, boy, that was a confidence

3533
02:36:06,200 --> 02:36:11,080
Speaker 3: building Yeah, I'm gone, you know, but uh it was interesting.

3534
02:36:11,400 --> 02:36:13,880
Speaker 3: Uh they cut, we cut the record, turned it in

3535
02:36:14,920 --> 02:36:17,160
Speaker 3: and they were a little out of tune on some parts,

3536
02:36:17,200 --> 02:36:20,160
Speaker 3: and was worked to get the vocals done. So Jero

3537
02:36:20,240 --> 02:36:21,640
Speaker 3: Buzzby looks at me. He says, man, can you cut

3538
02:36:21,680 --> 02:36:22,800
Speaker 3: four or five more songs?

3539
02:36:22,840 --> 02:36:22,960
Speaker 1: You know?

3540
02:36:23,280 --> 02:36:24,560
Speaker 3: I said, man, I can't do that.

3541
02:36:24,840 --> 02:36:25,400
Speaker 1: I'm doing this.

3542
02:36:25,520 --> 02:36:27,400
Speaker 3: He says, well, get your boys, Allie, and wasn't name

3543
02:36:27,440 --> 02:36:29,520
Speaker 3: of them to do it. He says, they can ghost

3544
02:36:29,560 --> 02:36:31,680
Speaker 3: it for you. He says, you got my permission. So

3545
02:36:31,800 --> 02:36:33,480
Speaker 3: I go to my boys. I said, man, y'all, y'all

3546
02:36:33,480 --> 02:36:34,960
Speaker 3: want to cut the stuff. I got a pockets full

3547
02:36:35,000 --> 02:36:37,400
Speaker 3: of cash burn here, you know, do this. We don't

3548
02:36:37,400 --> 02:36:38,480
Speaker 3: want to do that. We don't want to do it.

3549
02:36:38,760 --> 02:36:40,840
Speaker 3: I said, yep, but we don't want to. Nobody want

3550
02:36:40,879 --> 02:36:44,040
Speaker 3: to do it. Why I just didn't want to do it. No,

3551
02:36:44,160 --> 02:36:48,600
Speaker 3: I couldn't get all I mean people needed integrity. Yeah yeah,

3552
02:36:48,640 --> 02:36:51,400
Speaker 3: too much integrity or too much poor judgment. So nobody

3553
02:36:51,440 --> 02:36:52,640
Speaker 3: would take the money to do it. So that's how

3554
02:36:52,640 --> 02:36:54,480
Speaker 3: I ended up with just the one song. I turned

3555
02:36:54,520 --> 02:36:56,560
Speaker 3: the song in and believe or not, that's the same

3556
02:36:56,600 --> 02:36:59,920
Speaker 3: week when they called me for Ghostbusters. So when Gary

3557
02:37:00,080 --> 02:37:02,960
Speaker 3: Lamel called me from Ghostbusters, you know, I had been

3558
02:37:03,000 --> 02:37:04,519
Speaker 3: to Spargo's and I was sitting.

3559
02:37:04,280 --> 02:37:05,440
Speaker 1: With the lady right there, Claire.

3560
02:37:05,480 --> 02:37:08,800
Speaker 3: We were looking at that read I mean black poster

3561
02:37:08,920 --> 02:37:10,800
Speaker 3: with it just had to circle on it something like that.

3562
02:37:11,160 --> 02:37:12,560
Speaker 3: I said, what is that? And I said, I got

3563
02:37:12,600 --> 02:37:14,960
Speaker 3: a phone call from my friend about that, and what

3564
02:37:15,080 --> 02:37:17,160
Speaker 3: Gary was saying it was, you know, spent a couple

3565
02:37:17,200 --> 02:37:17,600
Speaker 3: of days.

3566
02:37:18,080 --> 02:37:18,640
Speaker 1: I paid it right.

3567
02:37:18,720 --> 02:37:20,600
Speaker 3: So I says, Man, I'm not doing this song. I'm

3568
02:37:20,640 --> 02:37:21,440
Speaker 3: going back to Detroit.

3569
02:37:21,520 --> 02:37:21,840
Speaker 1: He says.

3570
02:37:22,480 --> 02:37:23,959
Speaker 3: He says, you're not doing music. He says, what are

3571
02:37:24,000 --> 02:37:25,640
Speaker 3: you doing here? Now? Says I'm doing a new edition.

3572
02:37:25,640 --> 02:37:27,320
Speaker 3: He said, were doing doing music? Then what are you

3573
02:37:27,400 --> 02:37:29,560
Speaker 3: talking about? My money ain't good for their you know.

3574
02:37:29,680 --> 02:37:31,560
Speaker 3: So that's how he talked me into doing this. I

3575
02:37:31,640 --> 02:37:34,240
Speaker 3: was already in town doing a new edition. So he said,

3576
02:37:34,280 --> 02:37:37,920
Speaker 3: stay two more days. Fifty grand. Ye. So that year

3577
02:37:38,000 --> 02:37:40,640
Speaker 3: I had missed the telephone Man and Ghostbusters came out

3578
02:37:40,640 --> 02:37:41,119
Speaker 3: the same year.

3579
02:37:41,879 --> 02:37:47,640
Speaker 1: Man, Game Changers, Game Changers. Yeah, Ray Parker Jr. Thank you,

3580
02:37:48,000 --> 02:37:58,720
Speaker 1: Thank you, Man, thank you. One of the new edition.

3581
02:37:59,320 --> 02:38:04,600
Speaker 1: Ray Parker almost didn't happen, just like Ghostbusters almost didn't happen,

3582
02:38:04,800 --> 02:38:06,840
Speaker 1: just like Jack and Jill almost didn't happen.

3583
02:38:07,760 --> 02:38:10,040
Speaker 3: Man, I don't know what lesson like.

3584
02:38:10,120 --> 02:38:13,200
Speaker 1: There's so many I don't know if it's that I

3585
02:38:13,240 --> 02:38:19,440
Speaker 1: should start dating all the daughters of all the mine

3586
02:38:19,560 --> 02:38:21,039
Speaker 1: is I'm kicking my kids out the house.

3587
02:38:21,200 --> 02:38:23,760
Speaker 3: Yeah, you really have to know that information. You're like

3588
02:38:23,840 --> 02:38:25,600
Speaker 3: exactly what I'm like, what was the day?

3589
02:38:25,640 --> 02:38:29,840
Speaker 5: I mean, that's the lesson because three days after yet

3590
02:38:29,879 --> 02:38:31,440
Speaker 5: to roll right Ghostbusters?

3591
02:38:31,520 --> 02:38:34,360
Speaker 3: So yeah, yea myself. They got to go.

3592
02:38:36,640 --> 02:38:38,279
Speaker 1: They stay numbered already.

3593
02:38:38,480 --> 02:38:41,640
Speaker 3: Oh yeah, that's what you're taking for this, Ray Parkers. Yeah, yeah,

3594
02:38:41,680 --> 02:38:42,800
Speaker 3: they gotta get out.

3595
02:38:42,879 --> 02:38:43,320
Speaker 1: They gotta go.

3596
02:38:44,000 --> 02:38:46,200
Speaker 6: I mean once they they're not legal yet, they're not.

3597
02:38:46,480 --> 02:38:47,480
Speaker 3: At fifteen and ten.

3598
02:38:47,760 --> 02:38:53,240
Speaker 1: But I'm basically saying seven three to seven years fifteen,

3599
02:38:53,280 --> 02:38:53,840
Speaker 1: gotta get out.

3600
02:38:53,879 --> 02:38:57,800
Speaker 3: Oh yeah, yeah, oh yeah really, oh yes, I mean

3601
02:38:57,840 --> 02:38:59,520
Speaker 3: it was like that for me. You know what I'm saying.

3602
02:38:59,560 --> 02:39:00,200
Speaker 1: I did right.

3603
02:39:00,200 --> 02:39:01,800
Speaker 3: I ended up in the room with you motherfuckers.

3604
02:39:01,840 --> 02:39:06,680
Speaker 1: So I see something a child has to suffer to

3605
02:39:06,760 --> 02:39:07,440
Speaker 1: make it in life.

3606
02:39:07,800 --> 02:39:08,080
Speaker 6: I don't.

3607
02:39:08,200 --> 02:39:09,480
Speaker 3: Is there thing you gotta suffer?

3608
02:39:09,640 --> 02:39:11,879
Speaker 5: I just you know what, man, It's it's tough because

3609
02:39:11,920 --> 02:39:13,440
Speaker 5: like we were talking about this to Cardoon Knight, like,

3610
02:39:13,920 --> 02:39:16,000
Speaker 5: you know, looking at what was it? It was you

3611
02:39:16,160 --> 02:39:19,279
Speaker 5: god right, saying like his kids are like super nerds.

3612
02:39:19,360 --> 02:39:22,240
Speaker 5: Nerds so a lot of ways like hip hop and

3613
02:39:22,520 --> 02:39:25,640
Speaker 5: the kids have entertainers. Hip hop has afforded the kids

3614
02:39:26,080 --> 02:39:29,200
Speaker 5: way better lives than the fathers and mothers, you know

3615
02:39:29,240 --> 02:39:31,720
Speaker 5: what I'm saying. So that's the good thing. But then

3616
02:39:31,840 --> 02:39:34,960
Speaker 5: in some aspects you kind of lose that thing that

3617
02:39:35,280 --> 02:39:40,240
Speaker 5: made your dad you know, right or whatever, hunger drive, whatever,

3618
02:39:40,720 --> 02:39:43,840
Speaker 5: So you kind of gotta walk that line. It's like, Okay,

3619
02:39:44,320 --> 02:39:46,560
Speaker 5: do I want to give my kids everything that I

3620
02:39:46,640 --> 02:39:48,879
Speaker 5: didn't have or do I want to make them live

3621
02:39:49,040 --> 02:39:50,000
Speaker 5: like Antoine Fisher.

3622
02:39:50,440 --> 02:39:53,120
Speaker 1: So I'm just kind of like, I mean, not like

3623
02:39:53,800 --> 02:39:54,439
Speaker 1: not white.

3624
02:39:55,879 --> 02:40:06,040
Speaker 3: It here, I'm still strong. Oh nigga, I don't know

3625
02:40:06,080 --> 02:40:06,800
Speaker 3: who will people be?

3626
02:40:07,800 --> 02:40:08,400
Speaker 2: So nah?

3627
02:40:08,480 --> 02:40:11,520
Speaker 5: I mean, so that's that's my that is my conflict

3628
02:40:12,040 --> 02:40:14,240
Speaker 5: because I want to get in the things. I mean,

3629
02:40:14,240 --> 02:40:15,880
Speaker 5: I don't want my kids to like grow up like

3630
02:40:15,959 --> 02:40:19,200
Speaker 5: in the crackhouse and ship like I experienced. But at

3631
02:40:19,240 --> 02:40:21,280
Speaker 5: the same time, I don't want them, you know, to

3632
02:40:21,440 --> 02:40:24,160
Speaker 5: just be soft and mark.

3633
02:40:27,440 --> 02:40:28,119
Speaker 3: God damn job.

3634
02:40:29,080 --> 02:40:29,640
Speaker 1: Yeah no.

3635
02:40:30,320 --> 02:40:32,800
Speaker 3: So so that was my list from break kick your

3636
02:40:32,840 --> 02:40:33,400
Speaker 3: kids out there.

3637
02:40:34,840 --> 02:40:38,560
Speaker 1: And children. I'm sorry, I just wanted to radio show

3638
02:40:38,640 --> 02:40:41,120
Speaker 1: to nerd out a little bit. I didn't want this

3639
02:40:41,280 --> 02:40:46,200
Speaker 1: to be the moment of your life changing. Uh so, Bill,

3640
02:40:46,280 --> 02:40:48,840
Speaker 1: you seem to agree about kicking my kids out of

3641
02:40:48,840 --> 02:40:51,320
Speaker 1: the house. You would kick one daughter out with do

3642
02:40:51,440 --> 02:40:56,000
Speaker 1: you know it like tomorrow?

3643
02:40:56,840 --> 02:40:58,960
Speaker 3: No, I'm playing, uh, but you're not.

3644
02:40:59,240 --> 02:41:02,480
Speaker 1: I'm not. I don't you know.

3645
02:41:03,520 --> 02:41:05,440
Speaker 3: I haven't given much thought to kicking my kids out

3646
02:41:05,440 --> 02:41:05,720
Speaker 3: of the house.

3647
02:41:05,760 --> 02:41:07,400
Speaker 1: I feel like a few years ahead of me.

3648
02:41:07,560 --> 02:41:09,400
Speaker 3: So, yeah, your kids, your daughters are much young.

3649
02:41:09,840 --> 02:41:18,640
Speaker 1: So I mean there are days late, Jordans. There's two kids,

3650
02:41:18,720 --> 02:41:22,760
Speaker 1: and I'm paid Bill's life, and one might be testing

3651
02:41:22,800 --> 02:41:25,320
Speaker 1: his patience just a little bit more than the other one.

3652
02:41:26,080 --> 02:41:29,200
Speaker 3: Everybody's patients, not just me. But do you feel I mean,

3653
02:41:29,320 --> 02:41:31,640
Speaker 3: is it too late? She's only three, right, she's four?

3654
02:41:31,879 --> 02:41:32,680
Speaker 3: Is it too late to do what?

3655
02:41:32,920 --> 02:41:33,120
Speaker 1: Yeah?

3656
02:41:34,240 --> 02:41:36,480
Speaker 3: Give her back? Yes, it's too late for that.

3657
02:41:37,080 --> 02:41:40,160
Speaker 1: I have about three friends who thought. One one of

3658
02:41:40,200 --> 02:41:44,800
Speaker 1: them infamously said, you know, he had a son and

3659
02:41:44,920 --> 02:41:46,280
Speaker 1: a daughter and he says, well, you know, I'm gonna

3660
02:41:46,280 --> 02:41:48,959
Speaker 1: save my baill money up for my son to college

3661
02:41:49,000 --> 02:41:51,760
Speaker 1: tuition up for her. And now they're older, it's the

3662
02:41:51,800 --> 02:41:55,200
Speaker 1: complete opposite. The angel is now a nightmare. I heard

3663
02:41:55,200 --> 02:41:58,120
Speaker 1: that they switch and right, so as who knows, like

3664
02:41:58,200 --> 02:42:03,080
Speaker 1: the apple of your eye, might you know it might

3665
02:42:03,120 --> 02:42:05,760
Speaker 1: be bail money time. I mean, I hope.

3666
02:42:09,200 --> 02:42:10,760
Speaker 3: You about girls to keep him off the poles.

3667
02:42:10,760 --> 02:42:12,840
Speaker 1: The only thing you need to do. I've heard that,

3668
02:42:12,879 --> 02:42:15,840
Speaker 1: all right. So Steve drops droptsman, science man, would you learn? Man?

3669
02:42:16,080 --> 02:42:19,080
Speaker 8: I thought some of the interesting things he was talking

3670
02:42:19,120 --> 02:42:22,120
Speaker 8: about was the Stevie Wonder playing drums on his stuff last.

3671
02:42:22,480 --> 02:42:23,800
Speaker 1: Yeah, that is that all?

3672
02:42:23,840 --> 02:42:26,240
Speaker 8: I mean, that's that makes a lot of sense. And

3673
02:42:26,400 --> 02:42:30,120
Speaker 8: it's just so it's just mind blowing. How does it

3674
02:42:30,200 --> 02:42:33,080
Speaker 8: make no click? So he's playing to what well?

3675
02:42:33,160 --> 02:42:37,920
Speaker 3: Because Steve is one of the most adventurous uh.

3676
02:42:39,320 --> 02:42:42,760
Speaker 1: High hat players all time, that just makes a lot

3677
02:42:42,800 --> 02:42:46,119
Speaker 1: of sense that the fluctuation of his drumming is because

3678
02:42:46,160 --> 02:42:51,160
Speaker 1: he does it last. And I try that same. I'm

3679
02:42:51,160 --> 02:42:54,080
Speaker 1: gonna cut a song on this album's album.

3680
02:42:54,160 --> 02:42:55,840
Speaker 3: Every That's what I was thinking the whole time.

3681
02:42:56,200 --> 02:42:57,280
Speaker 1: You know, I gotta try this.

3682
02:42:58,800 --> 02:43:01,480
Speaker 3: I love that in two weeks. Let's listen.

3683
02:43:01,600 --> 02:43:03,879
Speaker 1: Listen, listen. That's something cool.

3684
02:43:04,000 --> 02:43:08,600
Speaker 8: And and also Stevie Wonder's apparent competitiveness with with Ray

3685
02:43:08,680 --> 02:43:13,119
Speaker 8: Parker and trying to that on the Sha Ka Khan

3686
02:43:13,240 --> 02:43:18,480
Speaker 8: thing and all that, and then the Hugelism skills as well,

3687
02:43:18,800 --> 02:43:21,800
Speaker 8: and that Barry White didn't like overdubs and he was

3688
02:43:22,080 --> 02:43:25,080
Speaker 8: he was doing all that. No, but in general, we're

3689
02:43:25,160 --> 02:43:27,960
Speaker 8: choosing people here that seem to know everybody, who have

3690
02:43:28,440 --> 02:43:30,800
Speaker 8: seemed to have done everything, and it's like it's just

3691
02:43:31,040 --> 02:43:33,400
Speaker 8: so much data going, you know, we need to choose

3692
02:43:33,440 --> 02:43:35,040
Speaker 8: somebody who just did like a one hit wonder.

3693
02:43:35,760 --> 02:43:38,560
Speaker 1: So, lie, what did you learn besides the fact that

3694
02:43:38,760 --> 02:43:43,440
Speaker 1: you might possibly want Ray Parker Junior to be your

3695
02:43:43,520 --> 02:43:45,080
Speaker 1: baby dad, just at least.

3696
02:43:44,959 --> 02:43:47,040
Speaker 6: The soundtrack to you Know Me and My Baby. You

3697
02:43:47,080 --> 02:43:47,840
Speaker 6: know what I learned?

3698
02:43:47,879 --> 02:43:50,200
Speaker 4: And I learned this every week on this show. Excuse me,

3699
02:43:50,640 --> 02:43:53,200
Speaker 4: not jokes, but I learned you gotta pay attention. And

3700
02:43:53,320 --> 02:43:55,040
Speaker 4: it's funny because y'all made the joke about having a

3701
02:43:55,120 --> 02:43:56,480
Speaker 4: one hit Wonder on the show, and I'm like, you know,

3702
02:43:56,520 --> 02:43:58,720
Speaker 4: a lot of people listening might think that Ray Parker Jr.

3703
02:43:59,160 --> 02:43:59,880
Speaker 6: Was a one hit one.

3704
02:44:00,440 --> 02:44:02,240
Speaker 4: So it just goes to show that you and not

3705
02:44:02,360 --> 02:44:04,400
Speaker 4: to plug our own show, but you need to pay

3706
02:44:04,400 --> 02:44:06,680
Speaker 4: attention to Quest Love Supreme because you will find out

3707
02:44:06,760 --> 02:44:08,920
Speaker 4: some ship that you never knew. And then I think

3708
02:44:08,959 --> 02:44:10,480
Speaker 4: at the same time, you should have your phone open

3709
02:44:10,560 --> 02:44:12,720
Speaker 4: on Google and discogs or whatever else you need to do.

3710
02:44:13,240 --> 02:44:16,640
Speaker 6: So that you can be, you know, more musically educated person.

3711
02:44:16,959 --> 02:44:19,920
Speaker 1: Bill. Yeah, what's up? What did I learn?

3712
02:44:20,920 --> 02:44:25,240
Speaker 3: I learned that it's a good idea to maintain relationships

3713
02:44:25,920 --> 02:44:27,680
Speaker 3: because you will never know when you will need certain

3714
02:44:27,720 --> 02:44:32,000
Speaker 3: people again. Any other last words of Boss Bill like

3715
02:44:32,200 --> 02:44:37,400
Speaker 3: as far as the relationships maintained relationships, Ray Parker Jr.

3716
02:44:37,400 --> 02:44:39,000
Speaker 3: Is still one of the coolest dudes on the planet.

3717
02:44:40,360 --> 02:44:44,160
Speaker 1: Still he talks like, right, You'll think Drake's going to

3718
02:44:44,200 --> 02:44:50,480
Speaker 1: be that cool when he's sixty something, isn't there just rerailised.

3719
02:44:50,520 --> 02:44:52,800
Speaker 3: We forgot to ask him Ray Parker, what it was

3720
02:44:52,920 --> 02:44:55,039
Speaker 3: like to uh, to be Land of cal.

3721
02:45:00,040 --> 02:45:01,320
Speaker 1: Good night, ladies and gentlemen.

3722
02:45:01,760 --> 02:45:03,760
Speaker 3: There is another episode of Quest Loves Supreme.

3723
02:45:04,280 --> 02:45:07,000
Speaker 1: Boss Bill. Tune in next week. It wasn't Lando Covers,

3724
02:45:07,120 --> 02:45:13,560
Speaker 1: It wasn't that wasn't him, Sugar Steve, I'm bay Bill

3725
02:45:13,959 --> 02:45:20,160
Speaker 1: Fante Edit Scott Spread Wait, yeah, yeah, Scott Spurn.

3726
02:45:22,200 --> 02:45:23,160
Speaker 3: Think about the baby.

3727
02:45:25,320 --> 02:45:28,280
Speaker 1: This is a Quest Love come next week again at

3728
02:45:28,360 --> 02:45:34,120
Speaker 1: one pm Eastern Eastern Standard times, ten am Specific Standard time.

3729
02:45:34,760 --> 02:45:40,120
Speaker 1: And uh, we hope you still are listening Quest Love

3730
02:45:40,200 --> 02:45:51,160
Speaker 1: Supreme Pandora, Thank you. Quest Love Supreme is production of iHeartRadio.

3731
02:45:51,680 --> 02:45:55,039
Speaker 1: This classic episode was produced by the team at Pandora.

3732
02:45:57,600 --> 02:46:00,200
Speaker 1: For more podcasts from iHeart Radio, visit the i heart

3733
02:46:00,320 --> 02:46:03,440
Speaker 1: Radio app, Apple Podcasts, or wherever you listen to your

3734
02:46:03,480 --> 02:46:04,119
Speaker 1: favorite shows.